STAGES Theatre Circle INSIGHTS Special Edition - Fall 2014 Indiana University Department of Theatre, Drama, + Contemporary Dance

IU Theatre’s Journey to the Prague Quadrennial of Performance, Design, and Space n 2010 faculty Technical Director Paul Brunner was selected Ito be part of the United States entry in the 2015 Prague Qua- drennial. As a member of the design team, Paul has been attend- ing weekly webinar meetings with team colleagues in New York, London, Houston, and L.A. to discuss the design and fabrication details. Eight IU students applied to take part in the project and volunteered five weeks of their summer to fabricate two exhibits at IU’s Scenic Studio: the national exhibit that represents U.S. design- ers, and the student exhibit which highlights schools of theatre. Tese students will travel to Prague next summer to install the exhibits and serve as hosts to thousands of attendees from around the world. Te opportunity for these theatre students to attend the Prague Quadrennial, to be exposed to the very best in design and live performance from around the world, and to spend almost three weeks in Prague is a rich and life-changing experience. Of the eight students, four are funded by the project’s major sponsor, the United States Institute for Teatre Technology (USITT.org), and four by a gracious local donor. It is not easy to put the Quadrennial into context. Since 1967, the event has been held every four years and is the only interna- Computer-generated rendering of the USA Exhibit entry in the  Prague Qua- tional exhibition of performance design and space. Te event brings drennial by Klara Zieglerova, exhibit designer. together the very best theatre and performance design from over 60 countries for a 10-day exhibition in Prague, Czech Republic, in June 2015. It is commonly considered the Olympics of theatre design and Robins. Both are icons in scenery and costume design for theatre, technology. IU Teatre’s involvement demonstrates that our pro- opera, film, and television. Along with Kevin Rigdon, these design- grams and students are held in the highest regard across the nation. ers will serve as the curatorial team to evaluate and select the very As if three weeks in Prague were not enough, the students will best American design and performance work from the past four also have ample opportunity to interact with major designers years. Te artifacts they select (props, renderings, photographs, cos- from the past quarter century including Tony Walton and Carrie tumes, scenic models, etc.) will become part of the national exhibit during a trial setup at IU in January 2015. Upon completion of the trial setup, the exhibit will be entirely disassembled and placed in storage until March when it will be loaded into a shipping container for the long journey to Prague. In June, Paul, Tomas Quintas (production manager), and the student team will travel to Prague to reassemble the exhibits. IU graduate students who have been selected for this project include: Aaron Bowersox, Bridgette Dreher, Carrie Barton, Sandy Everett, Katie Gruenhagen, Kristen Martino, Kelsey Nichols, and Brad Shaw. While in Prague, the students will collaborate with theatre artisans from many different countries and discover centu- ries-worth of architecture, complex political history, museums of art and sculpture, rich culinary arts, and the finest examples of theatre design and performance from around the world. Computer-generated rendering of the Student Exhibit produced by a team of –Paul Brunner students from several institutions across the country. INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE

1. Helen Cappannelli 2. Sasha Belle Neufeld 3. Rachael Fernandez 4. Nick Pecoraro 5. Deana Nichols 6. Lee Burckes 7. Xinyi He 8. Brittany Brewer 9. Kate Olsson 10. Sam Schiffman 11. Lexi Lessaris 12. Chelsey Sorbo 13. Nathan Alan Davis 14. Andrea Mellos 15. Evelyn Gaynor 16. Emily Scott Our Newest Alumni: The Class of 2014 17. Juliet Barrett 18. Hannah Slabaugh 26. Maggie McCoy 34. Derek Jones 19. Julian Ramos 27. Adam St. John 35. Lauren Branam 20. Sam Ostrowski 28. Drew Jenkins 36. Keith Orgain 21. Tyler Hinojosa 29. Leslie Boyden 37. Grant Niezgodski 22. Colin Schreier 30. Brianna Handy 38. Matt J. Keeley 23. Allison Schwartz 31. Courtney Lucien 39. Harry Holmes 24. Joshua Annable 32. Lee Cromwell 40. Barbara Harvey Abbott 25. Nichole Eberle 33. Clayton Gerrard

PAGE 2 FALL 2014 STAGES Department News IU Alum Kevin Kline receives Honorary Doctorate from IU Kevin Kline (BA’70) visited Bloomington training, which began, we are extremely in September to receive an honorary degree proud to say, at Indiana University. Few from IU and to present the Jorgensen Guest contemporary performers can match his Filmmaker Lecture. Department Chair impressive body of work, artistic integrity, Jonathan Michaelsen, along with Robby and ability to portray such a vast range of Benson and Karla DeVito interviewed characters. Trough conferral of this degree, Kline as part of the lecture. In addition to we acknowledge and recognize his major the lecture Kline will also taught a master contributions to the craft of acting and, in a class for M.F.A. acting students. broader sense, his advancement of American In a recent article, IU President Michael culture. A. McRobbie remarked of Kline: In honor of Kline’s visit, the IU Cinema Kevin Kline is one of the most accomplished, has been showing a series of his most popu- esteemed, and versatile stage and screen lar films throughout the month of Septem- actors living today, and his success reflects ber. For the schedule of remaining showings both his exceptional talent and his excellent visit cinema.indiana.edu.

M. Butterfly playwright David Henry Hwang to visit IU in October In October, M. Butterfly playwright David Hwang will present the Collins Lecture IU Teatre will present David Henry Henry Hwang will travel to IU to meet on October 16 at 5:30 PM. Tickets are free Hwang’s M. Butterfly in October. For more in- with students, faculty, staff, and the Bloom- and will be available to the public soon. For formation on the production including a first ington community in several on campus more information on the Collins lecture and look at the scenic design as well as information events as part of the Ralph L. Collins Me- related events visit theatre.indiana.edu. about the playwright, see pages 25-27. morial Lecture Series.

Dale McFadden takes Coming to See Aunt Sophie abroad In May, Dale McFadden was again invited to Te Here and Now Festival in Mannheim, Germany where American and British theatre artists are showcased in an English language biannual theatre festival. He directed Coming to See Aunt Sophie, a play by Arthur Feinsod based on the life of World War II Polish Resistance fighter and diplomat Jan Karski. Te play also toured Poland at the invitation of the Polish Gov- ernment. M.F.A. actor Josh Krause played the lead role of Young Karski. Tis July, Dale directed an expanded version of the play for Crossroads Repertory Teatre. As- sociate Professor Nancy Lipschultz served as vocal coach for both productions. In mid-September, Coming to See Aunt Sophie will play in Chicago at the Chopin Teatre. Te production will be a part of the Centennial celebration of Karski’s birth. For more information about the play, the actors, and the upcoming production visit comingtoseeauntsophie.com. Director Dale McFadden with playwright Arthur Feinsod, stage manager Charles Adams, and cast members Brad Venable, Alex Miller, Josh Krause, and Julie Dixon.

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IU Theatre makes a clean sweep at National Society of Arts and Letters Showcase Te Bloomington Chapter of Te National Winners of this year’s drama division Emily Harpe, Ilknur P. Ralston Memorial Society of Arts and Letters (NSAL) recently were all IU Teatre students: Award, $500. Donor: Dennis Organ hosted its annual Showcase of the Arts Mara Lefler, Dennis Organ Tribute Award, Adam Gregory St. John, Hrisomalos Merit competitions, which included entries in vi- $1,000. Donors: Connie and Harv Award, $500. Donors: Dr. Frank and sual arts, drama, literature, musical theatre, Hegarty Becky Hrisomalos dance, vocal music, as well as flute, oboe, Evelyn Gaynor, Lora Shiner Memorial Ian Damont Martin, Hegarty Merit Award, and clarinet. Tese annual arts competitions Award, $900. Donor: Reva Shiner $330. Donors: Connie and Harv Hegarty are adjudicated by professionals in the visual Samuel Evans Barkley, Lenyth Brockett, Congratulations to this year’s winners! arts, dance, drama, literature, music, and Carol Moody, and Fran Snygg Memorial And a special thank you to our donors who musical theatre. Many award winners from Award, $800. Donors: Marion and R. made these awards possible. Bloomington have gone on to have highly Keith Michael For more information about NSAL visit successful careers in their field. their website at arts-nsal.org.

News from the Design and Technology programs Linda Pisano (costume design) has been technology and welcome our alumni and promoted to full professor and has also been patrons to come see our work.” appointed as the head of the design and For more information on Allen, Reuben, technology program at IU. Below she gives and Dan check out this issue’s New Faculty us some insights into the exciting develop- section. ments in the design/technology programs: New M.F.A. costume technology program “Tis past year we were delighted to Tis fall, IU Teatre will welcome two welcome Heather Milam and begin the new new students into the brand-new M.F.A. M.F.A. track in costume technology which program in costume technology. Heather includes some exciting growth and revisions Milam, head of the program, moved to to the costume design track as well. Bloomington last summer and began pre- We are also very enthusiastic to welcome paring for the program last fall. Associate Professor Allen Hahn to our area Te new three-year program will train to head the M.F.A. program in lighting students in all the skills necessary to succeed design, Visiting Professor Reuben Lucas in as a technician in a costume shop–whether M.F.A. costume technology program director, the area of scenic design, and Dan Tracy that be in New York, Los Angeles, regional Heather Milam. our new academic specialist who heads the theatre or one of the many Shakespeare specifically on costume technology. prop and scenic painting area. With this companies worldwide. For more information on the new pro- incredible growth and the infusion of such Tis new program is one of about eight gram including an interview with Heather talent to our area we are looking forward to M.F.A. programs in the US which focus Milam visit: 7thandjordan.wordpress.com. an exciting new academic year in design and

Mask exhibit showcases student work In May, students from Linda Pisano’s mask course were featured in an exhibit in the Teatre Art Gallery on campus. Te work was the product of a semester-long course in mask design and construction. Te work on display included research, cast- ings, and masks made of leather, paper, thermo- plastics, and other materials.

M.F.A. costume design student, Kelsey Nichols and From L to R: Bridgette Dreher, Lauren Lusk, Kelsey Nichols, Johna Sewell, Julia Whalen, Eriko Terao, Kristen her mask created for the course. Martino, and Barbara Harvey Abbott.

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Jennifer Goodlander’s Journey to Southeast Asia Standing in front of the stone carvings lasted for days and included large casts of stained a red-brown color, in the same way showing scenes from the Hindu epic story performers, singers, and musicians. During the leather puppets are colored for perfor- the Ramayana, it was hard to believe they the period of the Khmer Rogue (1975-1979) mance! were over 900 years old. Te temple that over 90 of artists were killed as enemies It is humbling to think of an art form houses them is considered one of the seven of the state and most of the puppets were that has survived for so long and is now in wonders of the world, and is listed as a destroyed. As Cambodia rebuilds its country danger of being lost. One of the reasons I UNESCO site of world heritage. I was at and culture, puppetry is one of several arts enjoy researching, writing, and teaching Angkor Wat in Cambodia as part of a re- struggling to be revitalized. Right now there about arts and culture from so far away search trip to learn more about Cambodian are two troupes performing sbeik thom—one is that I hope my students and others art and culture, especially shadow puppetry. in Siem Reap and the other in Phnom Penh. who read my work will be inspired by the Performances now last only an hour or two power of arts to survive in such adversarial because no one remembers how to perform conditions. I look forward to returning to the longer stories. Puppets have had to be Cambodia in the future to continue learn- remade from memory and by looking at ing more and watching as a traditional art is drawings on temple walls. Both troupes are reborn. struggling to find an audience as they redis- –Jennifer Goodlander cover this ancient art form. Some people worry that art forms like sbeik thom are in danger of disappearing. Even so, the Cambodians in the audience watching the Carving from the Temple at Angkor Wat. Note the performance with me smiled similarity between the carving and the puppet at right. and clapped as the young artists carried the puppets Te trip to Cambodia was funded across the stage. I felt lucky through the Mellon Innovating Internation- to meet these amazing artists al Research and Teaching award. I was there and watch them perform. I for six weeks taking language classes, watch- even learned how to dance ing performances, and visiting artists. I was with the giant puppets! especially interested in sbeik thom, which As I stood gazing at the literally means “large puppets” (sbeik means carvings at Angkor Wat–I “puppet” and thom means “big”). Te art was struck by how much form dates back to the 11th century and was they looked like the puppets. originally performed for the king as part of Te tour guide pointed out important ritual celebrations. Performances that the walls had once been Sbeik thom puppet and puppeteer in performance. ART@IU Graduate Symposium treats cultural indigestion in December Te graduate organization, Association for mix and opens up more people to a desire connections with other theatre researchers Research in Teatre at IU (ART@IU), will to understand other cultures. In our third within the university and beyond. host the 3rd annual graduate symposium in annual graduate symposium on theatre As part of the two-day December confer- Teatre and Performance Studies on campus and performance studies, we hope to host ence, ART@IU will host Brazilian play- in December. Te conference, Cultural In- a diverse, interdisciplinary community of wright, actress, and director, Lucienne digestion (colon) Exploring the Complexities of scholars whose research ruminates on this Guedes Fahrer who will give the keynote Interculturalism in Teatre and Performance, mixed platter of performances that actively speech. Guedes graduated with a degree in will solicit papers and performances from interrogate cultural cannibalism and inter- theatre from Te School of Communica- graduate students, postgraduate students, cultural performance. tions and Arts-University of São Paulo and independent scholars in any field of ART@IU is an organization founded to (ECA-USP) with minors in dance and study from IU and other institutions. Te serve both graduate and advanced under- music. She is now a doctoral student at the goal for the conference is to create a dia- graduate students at the university. Teir School of Communication and Arts at the logue amongst theatre scholars and profes- mission is to University of São Paulo. sionals around the topic of intercultural provide a place for graduate and advanced In 2013, ART@IU hosted the sympo- studies and performance. undergraduate students to meet together sium (corpo)realities with guest Petra Kup- Eric “C” Heaps, president of the organi- and share their work in theatre and per- pers and in 2011 Dr. Rhonda Blair gave the zation remarks of the conference: formance studies. In addition, it provides keynote address for the War Making Bodies In our increasingly global culture, the blur- opportunities for these students to expand symposium. For more information on ring of boundaries both forces cultures to their professional networks by developing ART@IU visit artatiu.wordpress.com.

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IU Contemporary Dance goes to D.C. In June, IU Contemporary Dance students Ryan Galloway and Shannon Kazan traveled to Washington D.C. along with Contemporary Dance director Liz Shea and second-year M.F.A. lighting designer Aaron Bowersox to perform at the Kennedy Center for the Performing Arts. Galloway and Kazan performed Minor Bodies which was choreographed by Shea and seen earlier this year as part of the IU Contemporary Dance winter concert, Moving Into Focus. Minor Bodies was originally commissioned by Eisenhower Dance and premiered at Var- ner Recital Hall in Oakland, MI in October of 2013. Te Kennedy Center for Performing Arts hosts the National College Dance Festival biennially in Washington D.C. and show- cases dances that have been selected by adju- dicators in each of the regional conferences. Te dances are selected for their outstanding Chair Jonathan Michaelsen joins Contemporary Dance students Ryan Galloway and Shannon Kazan, M.F.A. student Aaron Bowersox, and Contemporary Dance program director Liz Shea at the Kennedy Center in Washington, D.C. artistic excellence and merit.

IU Contemporary Dance and Hubbard Street 2 Residency In late September-early October, IU Con- program. Te other students will have the tribute to the excellence of their work.” temporary Dance students will have the op- opportunity to learn HS2 company chore- IU students and members of the public portunity to work with the Hubbard Street ography in afternoon and evening work- will also have the opportunity to attend a 2 Dance Company (HS2) and internation- shops with HS2 director Terence Marling. free, informal in-studio performance to view ally known choreographer Ihsan Rustem. IU Contemporary Dance faculty will the new work created by Rustem. Following Te residency will allow IU Contemporary also have the opportunity to work with HS2 the performance, the dancers and Rustem Dance students the chance to work with this to further their own choreographic meth- will answer questions from the audience. In unique and world-famous contemporary odologies. Of this opportunity Liz Shea, addition, public viewings of the classes and dance training company. director of IU Contemporary Dance, notes workshops will be scheduled to allow for HS2’s parent organization, Hubbard “creating dances on professionals is quite the community to view the choreographic Street Dance Company was started 35 years different than creating dances on students process in action. ago by Lou Conte and continues its trend of and this time will lead to rich movement Rustem’s new dance piece will be fea- excellence through performance, outreach, resources for our faculty to explore and con- tured at the IU Contemporary Dance win- and partnerships with world-renowned ter dance concert, Encounters and Collisions, choreographers who work with their 18 January 15-18, 2015 in the Ruth N. Halls members. Te company performs locally, Teatre on campus. nationally, and internationally throughout Shea remarks of the residency, “this is the year. HS2 was founded in 1997 as a truly an extraordinary opportunity for training program for young dancers, ages Indiana University and surrounding com- 18-25, preparing them for careers in con- munities to witness art-making at the temporary dance. As part of their diverse highest level, and for students and faculty to programming Hubbard Street Dance Com- be engaged by leading professionals in the pany started the National Choreographic field. Bringing in dance artists of interna- Competition in 1999. Te competition tional acclaim for substantial periods of time selects one winner per year who then creates truly educates and enriches our academic works for the eight-member HS2 company environment, and lays the groundwork for and also teaches master classes during their the production of great creative endeavors at residency. Te winner of this year’s competi- Indiana University.” tion is London-born Ihsan Rustem. For more information on the collabora- Rustem will visit Bloomington to create tion visit theatre.indiana.edu and click on a world premiere work with the HS2 danc- “Dance.” For more information on HS2 ers and eight selected contemporary dance Choreographer Ihsan Rustem will be in residence visit hubbardstreetdance.com. students from IU’s Contemporary Dance with IU Contemporary Dance this fall.

PAGE 6 FALL 2014 STAGES IU Professor Selene Carter selected for prestigious choreography training program In May, IU Contemporary Dance professor ting through the door and where each of us Selene Carter attended a choreographic ended up was quite varied. Even though we intensive called Devices in New York City. were experimenting with the same devices, Devices is a highly competitive program none of the results resembled Doug Varone’s which trains choreographers in their craft work, or each others. Our own sensibilities using games and “devices” which are came through in the dances we made. In the designed to structure and inspire their studio this summer I am routed myself in creations. Te program has a three-part new directions, which is a challenge. We all structure. Te first is a week-long intensive have default settings and comfort zones as in New York City with the Doug Varone artists! Habits are good, yet I feel strongly and Dancers company in the studios on the that putting myself through these new paces campus of Hunter College. Te second part will yield something altogether new and is a long-distance mentoring program where exciting. As the poet Wendell Barry says, participants return to their home institu- “It is the impeded stream that sings.” Having tions to create dances using the techniques constraints and limitations set is so liberat- learned at the institute while receiving feed- ing in choreographic process. back from Varone through video. Te final Quixotic Doug Varone works intuitively and part is a performance of the new dances at My dances tilt at windmills. I work with quickly. He coached me to look more at Varone and Dancer’s home studio at the irony in dance that pushes boundaries beyond space, energy and the architecture of what 92nd Street Y Harkness Dance Center in conventional assumptions. was in front of me. Tese are some dictums New York City. I collected during my week in NYC that I Below, Carter reflects on her experience so In an article published on IU news- am keeping at the forefront as I work on the far with the program: room’s blog (viewpoints.iu.edu), Carter dance: Attending this intensive meant that I describes the goal of the program: was able to get outside of my creative habits If you get frustrated it’s you, not them. Devices is a tool kit of sorts, and we all have and approaches. Having Doug Varone there them as choreographers – it’s how we gener- See what is in front of you. to spark me towards new directions was ate material, how we can get an idea, an invaluable! For my students at IU I intro- Be concept free. inspiration, just a little gesture and translate duce and teach a lot of concepts and ideas it into movement and translate that move- Devices open the door. about dance. I was galvanized creatively to ment into a movement phrase. And then we move beyond concepts or ideas and work on Nothing is sacred or precious. have to figure out how to manipulate that actual crafting. Tere were sixteen profes- phrase, figuring out if it’s more narrative, Notice when you want to apologize for sional New York City dancers, at the top more gestural, or more abstract. Tese are all something, or explain yourself. of their game technically and creatively, considerations. plus the fifteen other adjudicated choreog- Dancers are an opportunity to go beyond. To apply for the program, Carter was raphers. It was an embarrassment of riches asked to reflect on her work and her future Experience it from the inside. in terms of raw material to work with! Te goals as an artist. She has graciously allowed devices we worked with were ways of get- Work fast. us to publish an excerpt from her applica- tion here.

Describe your work in three words: Extemporaneous I work with improvised movement scores within my dances. Tere are improvisational scores like islands or docks imbedded in the work. Tese structured open spaces allow for the dancers to compose with each other and keep the piece fresh each time it is performed. I want dancers to be alert and ready to reveal the present state of their dancing selves within the piece. Referential I am inspired by the past. I refer to canonic ideas, iconic images and processes in my work. I extrapolate in my choreographic process and follow new directions that are impacted by the dancer’s own experiences and cultural refer- ences. Selene Carter at Devices creating work with dancers from Doug Varone’s Studio in New York. PAGE 7 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE New Faculty

his year the Department is welcoming Choreographies, jazz, ballet, and African- Tmany new faces to Bloomington. We derived dances in America. She also served are thrilled to have them as part of our con- as the choreographer for the fall musical tinually expanding community of talented production of Te Pajama Game. She was and successful artists and scholars. awarded the Future Faculty Fellowship from Allen Hahn will join the department Temple University, in Philadelphia, Penn- this fall as an Associate Professor of lighting sylvania in 2007. At Temple, she completed design. His career as a professional lighting her Ph.D. with a focus on Dance Education designer has ranged broadly from produc- and Cultural Studies. Originally from San tions of Handel operas for major US opera Francisco, her love for dance developed at companies like Santa Fe Opera, to produc- her community recreation center, and later at the School of the Arts High School. She received her B.A. in Political Science from Spelman College in 1999 and completed her M.F.A. in Performance and Choreography at the University of Michigan in 2003. In 2009, Nyama became a fellow of the Center shows in his career: Underneath the Lintel, for the Humanities at Temple. Nyama is After Paul McCartney, Don’t Forget Winona, committed to dance education for at-risk and Te Cole Porter Radio Hour, which he youths and taught dance in public schools also wrote. from 1999-2011. Rob is a founding member of Shad- Ruth McKee will be joining the depart- owApe Teatre Company, a professional ment this fall as a Visiting Assistant Profes- theatre troupe in Indianapolis. His favorite sor of playwriting. Ruth is a playwright who productions there include Rope, Gorey Sto- most recently hails from Southern Califor- ries, and Welcome to the Monkey House. nia where she has been teaching at Cypress Rob also has the honor of being the College and the University of California, tions with some of the country’s most well- most-cast actor in Brown County Playhouse San Diego, and running an immersive regarded avant-garde directors at the Brook- history, appearing in 18 productions from lyn Academy of Music’s Next Wave Festival 1993 to 2005. Rob was also the National and numerous companies and festivals in Champion of the National Society of Arts Europe, as well as Asia and South America. and Letters (NSAL) in 1994. Dr. Nyama McCarthy-Brown He has served as a lighting consultant to will join artists on installations for galleries in SoHo, Indiana University’s Department of Teatre, Te Metropolitan Museum in New York, Drama, and Contemporary Dance in the and ARoS Kunstmuseum in Denmark. He fall of 2014 as an Assistant Professor of was Lighting Design Curator for the US dance. She completed a two-year post- delegation to the 2011 Prague Quadrennial doctoral fellowship at Bowdoin College Exhibition of Stage Design, and his work where she also served as a visiting professor. from several productions was selected for Tere she taught Afro-modern, Cultural the 2007 Quadrennial. His primary research interests are the intersection of place and narrative and the use of mobile technology to enhance and activate the audience experi- ence of theatrical storytelling. Rob Johansen joins the department this theatre company which she helped to found: fall as a Visiting Professor of acting. In Chalk Repertory Teatre. Ruth’s work as a his twenty years in professional theatre, playwright has recently been produced by Rob has appeared in 42 productions at the Chalk Rep and the Black Dahlia Teatre in Indiana Repertory Teatre. Favorite roles Los Angeles, at the Cherry Lane Teatre in there include Casy in Te Grapes of Wrath, New York, and published by Playscripts. She the Clown in Te 39 Steps, the title role in is excited to embark on this adventure with Cyrano, twelve years playing Bob Cratchit in her husband, comic book writer Brian K. A Christmas Carol, Cassius in Julius Caesar, Vaughan, and her children Alec and Mina. and Te Man in Te Turn of the Screw. Adam McLean is returning to the de- Rob has appeared in four one-man partment as the Assistant Professor of

PAGE 8 FALL 2014 STAGES movement and combat, after serving a year Teatre Institute (BUSTI) and the Emerson Regional Teatre credits as Choreogra- as a visiting professor at IU. Adam McLean College Pre-College Acting Studio Summer pher: Ray, Pasadena Playhouse; Te Color is a fight director, director, theatre educa- Program. He had the honor of performing Purple (world premiere), Alliance Teater, tor and a life-long musician specializing in in Carol Churchill’s Mad Forest at the Sibiu Atlanta; Guys and Dolls and Tunder Knock- long distance musical collaborative projects International Teatre Festival in Sibiu, Ro- ing on the Door, Arena Stage. Film credits (adammclean.bandcamp.com). mania where he later returned to teach stage include: HBO’s Lackawanna Blues, Preach- combat. ing to the Choir, Brother to Brother, and John Adam continues to study the Michael Lequizamo’s House of Buggin’, for Fox T.V. Chekhov Acting Technique with the for which he received an Emmy Nomina- Michael Chekhov Association (MICHA) tion. under such teachers as Lenard Petit, Ragnar Other awards include two NAACP Freidank, Ted Pugh, Joanna Merlin and Jes- Awards, two Lucille Lortel Award nomina- sica Cerullo. He is a proud Certified Teacher tions, a Drama Desk Award nomination and with the Society of American Fight Direc- ADELCO Award, a BET Spirit Award and a tors (SAFD). Adam holds a B.A. in drama NPT Spirit Award. from Tomas More College and earned As a teacher, Kenneth has taught work- an M.F.A. in theatre pedagogy from Vir- shops specializing in the black vernacular of ginia Commonwealth University. Adam also theatre dance in cities including; New York held a Black Sash/Teaching Certification City, Bahia, Brazil; Rio de Janeiro, Brazil; in Wing Chun from Sifu Scott Elliott at Stuttgart, Germany; and Osaka, Japan. the AFS Academy. Also a performance artist and writer, Kenneth L. Roberson is joining the Kenneth’s one man show Middle Aged Pas- department as Professor of Practice in the sage Crisis has garnered a NYC cult follow- Adam’s fight direction has been seen at area of musical theatre. Roberson is a direc- ing and played Joe’s Pub in New York City Capital Repertory Teatre, Boston Play- tor, choreographer, teacher, performer, and and Baltimore Center Stage, Baltimore, wrights’ Teatre, Stoneham Teatre, writer whose Broadway credits include: Maryland. Lastly, he is a winner of NPT, American Repertory Teatre (A.R.T.), Com- Avenue Q (Tony Award For Best Musi- New York Writers Festival for his new Gos- pany One, Te Actor’s Shakespeare Project, cal); All Shook Up, Te Palace Teater; pel musical in progress, We Ain’t Perfect. Shakespeare Now!, Te Nora Teatre, Purlie (Encores!), City Center; Freak, Court Kenneth is a graduate of the University of Cardinal Stage Company, Indiana Festival Georgia’s Henry Grady School of Journal- Teatre, MetroWest Opera, Boston Opera ism. Collaborative and Opera Boston. In addi- Dan Tracy joined the staff of the Teatre tion Adam’s fight direction has been seen at Department at Indiana University in the Harvard University, Massachusetts Institute fall of 2013 as Prop Master and Scenic Artist of Technology (M.I.T.), and the Boston Supervisor. He received his M.F.A. in scenic Conservatory. design from Indiana University where he As a director, Adam had the pleasure of designed sets for Sunday in the Park with directing José Rivera’s Marisol while teach- George. For IU Teatre: Spring Awakening, ing acting and movement full time at Bos- In the Next Room (or Te Vibrator Play), ton Arts Academy, the city’s only public and Te Pillowman. Additionally, Dan has high school for the Visual and Performing worked as props artisan for Actors Teatre Arts. He also directed David Lindsay- of Louisville, Seaside Music Teater, and Abaire’s Rabbit Hole for Newton South Summer Stage and José Rivera’s Giants Have Us in Teir Books. In addition, Adam di- rected Henry Purcell’s Dido and Aeneas and Mozart’s Te Magic Flute for Boston’s Metro West Opera. Adam has taught movement, acting and/ Teater. Off Broadway: A Boy and His Soul, or stage combat at Emerson College, Bos- Te Vineyard; Jazz a La Carte (as director ton University, the Opera Institute, the and choreographer) and Harlem Song at New England Conservatory, the Boston the world famous Apollo Teater. Regional Conservatory, and was a Visiting Assistant Teatre credits as Director include: Frog Professor of Acting and Stage Combat Kiss (world premiere), Virginia Stage; Ethel at Florida State University. In addition, he (world premiere), Walnut Street Teatre has taught at the National Stage Combat and Alabama Shakespeare Festival; Crowns, Workshops in Las Vegas and the North Lady Day at Emerson’s Bar and Grill, and Carolina School of the Arts. Adam has also Ain’t Misbehavin’, all at the Arena Stage in had the pleasure to teach acting and stage Washington D.C.; and Once on Tis Island, combat at the Boston University Summer Baltimore Center Stage. PAGE 9 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE

New Harmony Teater. He was assistant the presence of the divine in this world, prop master and teacher at the University of she ultimately seeks to recuperate for grace Michigan. Dan has also done event design its double meaning as the gratuitous gift and management for Andretti Autosports, of salvation (holiness) and the allure of the Delta Faucet, Indy Racing League, NFL senses (beauty). players association, and Rolls Royce. Dan In a second project she studies the poli- continues to design professionally, having tics of proximity present in the figure of the recently worked on projects for Phoenix vecino, which designated in early modern Teatre and Civic Teatre of Indianapolis. Spain both neighbor and citizen. She Sonia Velázquez is an Assistant Profes- proposes the neighbor as citizen–a figure sor in the Department of Religious Studies limited spatially and pragmatically by con- with a joint appointment in the Department tiguity, yet open to universality through the of Teatre, Drama, and Contemporary Biblical injunction to love one’s neighbor–as Dance. She received her Ph.D. in Span- a supplement to the usual understanding of ish Literature and Culture from Princeton early modern political association primarily University in 2012. Prior to coming to in relation to the sovereign. Although the Bloomington, she was an assistant professor neighbor is primarily conceived in terms of space, an underlying temporal dimension manifests itself through narrative: every in Hong Kong. Henry appeared in Julius neighbor has a history, a story, of destination Caesar on Broadway with Denzel Washing- if not of origins. By insisting on the narra- ton. Henry has appeared as Nat Miller in tive aspects of citizenship–representations of Ah, Wilderness! and Egeon in Te Comedy of citizenship in literary texts, and citizenship Errors for Indiana Festival Teatre. itself as a series of narratives told by and for Woronicz graduated from Bridgewater the people–this project considers the po- State College in 1976, with a B.A. in com- tential of the early modern novel in general, munication arts and sciences. He acted and and particularly of Miguel de Cervantes’ directed at Boston Shakespeare Company, late fiction, to create a space straddling the Utah Shakespearean Festival, Berkeley public and the private spheres, where ethical Repertory Teatre, American Conservatory questions of belonging are addressed, thus Teater, Los Angeles Teatre Center, and challenging us to rethink what it means to others before going to the Oregon Shake- be human and a citizen. speare Festival in 1984. Henry Woronicz returned to Blooming- Before he became artistic director he ton in January 2014 as a visiting faculty spent seven years at Oregon Shakespeare member and guest artist with the Indiana Festival (OSF) acting in many roles: as University Department of Teatre, Drama, Petruchio in Te Taming of the Shrew and at University of Pennsylvania in the Depart- and Contemporary Dance. In the fall he the title roles in many productions, includ- ment of Romance Languages. will continue working as a Visiting Profes- ing Peer Gynt, Cyrano de Bergerac, and Henry Velázquez is currently at work on a book sor. As part of his visiting faculty appoint- VIII. His early directing credits included manuscript, Promiscuous Grace: Rethinking ment in the spring, Henry played the title Romeo and Juliet; Henry IV, part 2; Other Religion and Beauty with St. Mary of Egypt, role in the IU Teatre production of King People’s Money; “Master Harold”...and the that studies the immensely popular story of Lear, directed by Henry’s partner and IU boys; and Sea Marks. In 1991 he followed Mary of Egypt’s conversion from promiscu- emeriti associate professor Fontaine Syer. Jerry Turner as OSF’s third artistic director. ous twelve-year old to venerable anchorite, Henry Woronicz is a nationally recog- After assuming the role of artistic director, mediated by her interaction with an image nized actor, director, and producer and Woronicz continued to act and direct. Dur- of the Virgin Mary. She argues that this fig- former Head of the M.F.A. acting program ing those years he directed Pravda, Hamlet, ure is a productive, although rarely studied, at Illinois State University. He has worked Te Rehearsal, Cymbeline, and All’s Well Tat vehicle for reflecting on the role of beauty with American Conservatory Teatre, Ends Well. He was artistic director from 1991 and appearances in works that are ostensibly Berkeley Rep, Arden Teatre Company, to 1995. about asceticism and Christian doctrine. Actors Teatre of Louisville, Delaware In 2005 Woronicz appeared on Broad- Trough the study of three instantiations Teatre Company, Te Shakespeare Teatre, way in Julius Caesar at the Belasco Teatre. of the legend from the thirteenth to the Center Stage, Indiana Repertory Teatre, La In 2006 he directed Pericles, Prince of Tyre seventeenth centuries, she shows how these Jolla Playhouse, Berkley Repertory, Boston at the Illinois Shakespeare Festival and works—on the page, on the stage, and on Shakespeare Company, Seattle Shakespeare Coriolanus in 2007 at the Utah Shake- canvas—engage openly with questions Company, and numerous Shakespeare spearean Festival. He played Leontes in of generosity and promiscuity, belief and Festivals. Henry spent 11 seasons at Oregon Te Winter’s Tale at the American Reper- appearances, mediation and immediacy, Shakespeare Festival and served as its Artis- tory Teatre in Cambridge, MA and has feminine charm and the grotesque. Examin- tic Director. In 1996, he directed a Chinese appeared in plays at the Indiana Repertory ing how the legend of this saint mediates language production of School for Scandal Teatre, Actors Teatre of Louisville, and

PAGE 10 FALL 2014 STAGES the American Players Teatre. In 2009 he From 2009 to 2012, he was on the faculty of Living Out Loud, and Little Pieces. Television served in a consulting capacity as the execu- the School of Teatre and Dance at Illinois credits include parts in Seinfeld, Ally McBeal, tive producer of the Lake Tahoe Shakespeare State University, where he served as the Ed, Frasier, Moesha, 3rd Rock from the Sun, Festival, producing productions of Measure Head of Graduate Acting. Cheers, Picket Fences, Tird Watch, Star Trek: For Measure and Much Ado About Nothing at He has acted in films and television Te Next Generation, Star Trek: Voyager, and the Festival’s amphitheater in Sand Harbor shows from 1991 to the present. Te films in Law & Order. State Park, on the shores of Lake Tahoe. which he has acted include Primary Colors, Departures

t the end of the spring semester we the world, research on visualization and Washington University; the Alliance Te- Abid farewell to Tom Shafer, Robert visualization for the stage, light sculpture, atre School in Atlanta; Southern Oregon Shakespeare, Fontaine Syer, Amy Cook, lighting for the 1996 Olympics, software State University; and the University of and Ken Weitzman. We would like to thank and hardware development, multi-media Delaware. them for their contributions to the lives of integration in performance and lighting In the IU Department of Teatre, Drama, the students and the department, and wish pedagogy. At IU, Rob has designed over and Contemporary Dance, Fontaine them well on their new journeys. 20 main stage productions and numerous employed her education, training, and At the end of May, former dramaturg dance pieces since joining the depart- professional experience to teach a range of Tom Shafer retired from the department. I ment in 1985. He has provided service to courses in acting, directing, and working in had the pleasure of working with him as the the University at every level, guided a the profession. She helped select our seasons assistant dramaturg over the past year. I first successful design and technology program, of plays and directed nine productions, met Tom on my second visit to IU’s cam- and served as a teacher and mentor who most recently King Lear, which featured pus. He enthusiastically greeted me and we has sent forth a flock of talented light- guest artist Henry Woronicz in the title talked for a long while about how excited ing designers, who continue to leave their role. She has brought commitment, energy, he was for the year and what the position mark in the professional theatre and in and professionalism to her productions, entailed. It was clear from our first interac- academia. teaching, and work within the university. tion that Tom has a true passion for theatre In retirement, Rob will stay active. He is Working with Fontaine Syer has been a and the Department and his 25 years at IU working on more architectural lighting privilege and a pleasure. Her teaching, her is a testament to that commitment. I know projects, such as the “Bringing the River acting, her directing–all have conveyed her his passion for the theatre will continue even to Light” project in South Bend, as well passion for life and theatre, her sharp intel- in his retirement. Troughout his time at IU as lighting and wine-making collabora- ligence, and her wonderfully humane sense he has provided a welcoming environment tions with his wife, fellow lighting designer of humor. We wish her well. for students, staff, and faculty alike and has Marie, and being a father to his daughter Amy Cook (theatre, history, and dra- fostered the interest in dramaturgy in count- Rebecca. matic literature) and Ken Weitzman less undergraduate and graduate students. Fontaine Syer, former professor of act- (playwriting), left the department to pursue We wish him luck as he travels the world ing and directing retired in May. Tom Shafer a positions at Stony Brook University on with his wife, Susan. remarks on Fontaine’s career at IU: Long Island. Amy will be an Associate Pro- Former lighting design professor Robert Tis year Fontaine Syer concludes a career fessor of Teatre History and Ken will be an Shakespeare retired in May. Andrew Hop- in education that began in 1969, when she Assistant Professor of Dramatic Writing. We son writes of Robert’s contributions and taught and directed at her alma mater, wish them well as they pursue this exciting plans for the future: Mount Holyoke College. Before joining the new opportunity. Robert Shakespeare’s professional career faculty of Indiana University in 2005, she encompasses theatre and dance lighting had taught at the University of Missouri- –Edited and Compiled by design, architectural lighting design around St. Louis, where she was artist-in-residence; Sarah Campbell

Visitors to the Department

ver the past year, the department Stratford Festival director and actor In late October, Eric Van Tielen Owelcomed several teachers, guest artists, Marti Maraden returned to Bloomington in (MFA’07) returned to Bloomington for an and IU Alumni. Among them: October to direct Tennessee Williams’ Cat informal talk with students about working Director Gavin Cameron-Webb re- on a Hot Tin Roof. Maraden also gave a talk with touring productions. Tielen recently turned to IU in August as a Norvelle in the Studio Teatre about her career as finished a two-year tour with the 25th An- Visitor to direct Te Imaginary Invalid after well as her work on Cat on a Hot Tin Roof. niversary Road Company of Les Misérables. directing Richard III in the fall of 2012 and She previously visited the department in His talk was sponsored by Te National A Midsummer Night’s Dream in the spring April 2011 for a week-long workshop with Society of Arts and Letters. of 2012. the M.F.A. actors. In November actress Glenn Close vis-

PAGE 11 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE ited the department for a master class with Barrio Hollywood, which was produced at Courtney Sale, Indiana Repertory Teatre’s M.F.A. students. Close was on campus as Orlando Shakespeare Teatre. Romero is new artistic director, and Beth Blickers, part of the fall 2013 IU Temester and she Playwright-in-Residence at Arizona Teatre an agent at Abrams Artist Agency. Te presented a lecture entitled “Ending Stigma, Company. discussion was open to current IU graduate Changing Minds, and Saving Lives through Broadway producer Harriet Newman students. Mental Health Advocacy.” Close is actively Leve came to IU in March as the 2014 In April, Arian Moayed (BA’01) re- involved with the organization she founded, Collins Lecturer. Leve, a four-time Tony turned to Bloomington to receive the Bring Change 2 Mind, which seeks to end Award-winning producer, spoke to students College of Arts and Sciences’ Outstanding the stigma surrounding mental illness. about her work, the world of Broadway, her Young Alumni Award. While on campus, he Nationally recognized actor, director, many past productions, and those about to spoke to students at an open session in the and producer, Henry Woronicz, came to open. She recently co-produced Beautiful: Studio Teatre as well as undergraduate film campus for the spring semester to teach Te Carole King Musical and Hedwig and the students from the Department of Com- Acting for the Camera and a graduate acting Angry Inch with the producing organization munications and Culture, and arts admin- course. Woronicz also played the title role in Raise the Roof. Te production of Hedwig istration students from SPEA. Moayed the IU Teatre’s production of King Lear. recently won a Tony for Best Revival of a was nominated for a Tony Award for Best Adriane Fang, former Doug Varone Musical. Featured Actor in a Play for his portrayal of dancer and Assistant Professor of Dance at In April producer, actor, director, Musa in Bengal Tiger at the Baghdad Zoo in University of Maryland, was a guest artist teacher, and consultant Robert Benedetti 2011. He is currently artistic director of Wa- for contemporary dance this spring, teach- visited the department for ten days working terwell, a New York-based award-winning ing technique and repertory to dance majors. with students on film acting. He also gave non-profit theatre. In early February Associate Professor of an informal talk on the current state of film, Also in April, award-winning actress Germanic Studies, Johannes Türk pre- television, and theatre. Meryl Streep came to campus to receive an sented a Teatre Circle Lecture on Georg Playwright Naomi Iizuka visited campus honorary doctorate from IU. Streep also Büchner’s Woyzeck. Professor Türk’s lecture in April for a reading of her new play Good gave a Jorgensen Guest Filmmaker Lecture focused on the importance of Woyzeck in Kids, which was commissioned by the Big that was open to the public. IU Teatre stu- the history of modern drama and the role it Ten Teatre Consortium and will be pro- dents received additional time with Streep plays in Büchner’s work. He also discussed duced at IU in the spring semester. Iizuka’s who taught a master class to M.F.A. acting the formal as well as thematic elements of play was read by students in the Studio students. Current IU Teatre students, fac- the play. Teatre and the reading was followed by a ulty, staff, and emeriti were invited to attend In February playwright Elaine Romero question and answer session. the master class to watch Streep in action. visited Bloomington and spoke to students Iizuka also took part in a discussion on Below, recent graduate Allison Schwartz in the Studio Teatre about her career as a new play development with Neena Arndt, reflects on her experience watching Streep playwright and her recent plays including an associate dramaturg at Goodman Teatre, during the master class.

10 Things I Learned about Meryl Streep at her Master Class I’ve never been one to get star struck when I see Meryl never believed she was pretty enough 3. Meryl does not believe she is that good. a celebrity. Because of my career in the theatre, to find success as an actress. She thought She genuinely does not understand how I grew up respecting and recognizing that a her glasses would never be cool enough, and she became Meryl Streep. celebrities’ fame is a by product of their path her nose never small enough. Well guess Meryl slept through her law exam…and to fulfill their purpose in life. However, when what, Meryl? You were so wrong. However, then decided to pursue acting. Acting sati- Meryl Streep taught a master class for theatre Meryl’s tinge of self-doubt never completely ated all of her curiosities and passions. “It majors at Indiana University (where I go to vanishes, and constantly reminds her that is a privilege to be another person…YOU school and study theatre) last week, all hopes perfection and ideal beauty do not (and will [the actor] are the voice of the dead, and it’s of “playing it cool” and “just chillin’ with never) exist. a responsibility to be truthful to everybody,” Meryl” quickly fleeted. Upon her first step into 2. Meryl believes our days are empty un- she said (in a totally nonchalant, effortless the black box space, my body pulsated with less we fill them. We must start by start- word-vomit demeanor). excitement, honor, and awe. Te most iconic ing. 4. She genuinely feels bad that she has all actress of my lifetime a few feet away from me. Sometimes, I find myself moping of this success. But, far beyond her talents as an actress, I soon around, indulging in my self-pity and rotten Meryl knows other actors could play the came to learn that Meryl (is it cool if I call her mood. But, Meryl reminds us that we must roles she plays with conviction. And, as Meryl?) embodies those precious and rare traits empower ourselves to transform mundane much as she wants to share the wealth, we that every human being strives to attain. She’s into a masterpiece. If you don’t paint your all want to see Meryl. I’m sure buried deep a superhuman. And let me tell you why … empty canvas, no one is going do it for you. in her subconscious, however, lays some Because guess what? People are either too drop of egotistical pride for her roles and 1. Meryl’s modesty, down-to-earthness, distracted celebrating their own pity parties her craft. It has to be there. She’s Meryl and humbleness are not a façade. or too busy creating their own destinies to Streep. And that was apparent immediately. care about yours.

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5. She longs for a private life. When asked, “reflecting back on your journey, what advice would you give to your 20 year- old self?” Meryl replied, “I wish I contemplated the cost of a public life.” I doubt that she would have given up her wildly successful career to live in a quaint ranch as an accountant, but “normal” people often forget the luxuries of a private life we take for granted. Meryl can’t even walk her dog or go to the grocery without a paparazzi attack. People may fan- tasize about the illusion of fame and celebrities, but fame comes with a cost. And having my Starbucks barista know my daily order is enough fame for me. 6. “Our habits and quirks make us unique. Embrace them. Te light shines through those pre- cious cracks.” Perfection. I guess Ke$ha would say Meryl Streep with department chair Jonathan Michaelsen during her visit to IU in April. something like, “we are who we are”. But se- taking a few steps back before you gracefully and everything seems to be going your way, riously… if we don’t embrace the imperfect, leap forward. you must remember time is always fleeting. unique beauty we were born with, then no 9. “Every occupation is uncertain these Never forget where you have come from one else will embrace it either. So let your days so you might as well be doing what and that a little gratitude goes a long way. light shine bright. Sometimes the world you love.” Celebrate the present moment, for who you needs a little more sunshine. I can vouch 100 for this. I have faced are right here and right now is all we may 7. “Belief, commitment, and imagination so many blockades and re-routings in my ever have. are essential to making a person feel journey as an artist. But if you’re passionate —Allison Schwartz something.” about something, you do not care who or BOOM. I wish creative freedom and what is in your way. I get it. So pursue what Allison Schwartz received a B.A. in Teatre & banishing all insecurities was that easy. But, you love…the world is a different place than Drama with a minor in Telecommunications with practice, patience, and passion, you too it used to be. If you’re really passionate, you from IU this past May, after completing her can make your mark. Make people feel feel- will find a way to make it work. college education in just three years. Allison has ings. Tat is art, and that is beautiful. 10. “You must be able to locate who you been a featured blogger on Tought Catalog, 8. “Listen hard to the person in your life are in some world.” TeaterMania U, and for the Broadway telling you what you don’t want to hear. I think this is my favorite piece of inspi- Dreams Foundation. Last summer, she in- Tey are most likely the ones telling the ration from Meryl. She spoke these words terned at Telsey + Company Casting in NYC, truth.” in reference to performing a scene from a and is thrilled to have permanently moved to Te truth often hurts. But someone who play, but these words so perfectly translate the city as a PR/Advertising intern for Daryl cares about you sees the “big picture” into everyday life. When you are lost, when Roth Advertising. has your best interests in mind. What we you feel defeated, you must remember what can’t fix on our own has the capacity to be makes you special and continue on your Tis article was originally published on constructed by those who love you most. So journey to self-fulfillment. On the other Tought Catalog (thoughtcatalog.com) and is listen with an open heart, and be okay with hand, when you are experiencing triumph, reprinted with the author’s kind permission.

PAGE 13 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE CLASS NOTES Before 1960 the Kickin’ Asphalt Bicycle Club on the members for their distinguished contribu- At the age of 91, retired U.S. Army Maj. island. tions to the discipline and is the highest James E. Rady (BA’51, MS’61) has pub- Harriet Newman Leve (BS’62, honor the association bestows. Golper and lished his fourth book of poetry, Rhymes EdD’72) is producer of Beautiful: Te her husband, Tom, reside in Nashville, and Times. Te collection of more than Carole King Musical (nominated for 7 Tennessee. 150 poems was written over a period of 60 Tony Awards, including Best Musical) and Howard Ashman (MA’74), lyricist for years. Rady, who retired as a teacher and Hedwig and the Angry Inch (nominated for the original animated film Aladdin, was administrator in Putnam County, Craw- 8 Tonys, including Best Revival of a Musi- posthumously nominated for a Tony for fordsville, and Anderson, Ind., has also cal), Of Mice and Men (nominated for 2 Best Original Score. written two novels. He lives in Lima, Ohio, Tony Awards, including Best Performance 1980s with his wife, Roberta. by an Actor in a Leading Role and Best Brad Armacost (BA’82) was nominated Lighting Design of a Play). 1960s for an Equity Joseph Jefferson Award for Robert James Waller (DBA’68) wrote Elizabeth Statts McCrea (BA’66, Principal Actor in Seanachai Teatre Com- Te Bridges of Madison County, on which PhD’80) took office in January as 2014 pany’s production of Te Seafarer. the Tony Award-winning musical is based. president of the American Speech–Lan- Marie A. (Mimi) Intagliata (BA’84) Te musical adaptation won Best Original guage–Hearing Association. She is a clinical started a new position as Director of Pro- Score written for the Teatre, Best Or- professor emerita of the Department of duction at Disney Teatrical Group in New chestration, and was nominated for Best Speech and Hearing Services at IU. Mc- York in August 2013. Among other projects, Performance by an Actress in a Leading Crea served as director of the department’s she is currently working on Aladdin, several Role in a Musical and Best Lighting Design R.L. Milisen Speech and Language Clinic productions of Te Lion King, the upcom- of a Musical. for close to a decade before she retired from ing National Tour of Newsies and the IU in 2011. 1970s developmental production of Te Hunch- Past president of the Hilton Head Lee Ann Coy Golper (BA’71) retired in back of Notre Dame. Previously Mimi was Chapter of the IUAA, Joan Apple Lem- fall 2013 as a professor of hearing and the Director of Production at Paper Mill oine (BS’68, MS’69, PhD’85) was recently speech sciences at Vanderbilt University’s Playhouse in Millburn, NJ where, over the honored as one of Hilton Head Island’s School of Medicine. She is a 2013 recipient course of 7 years, she shepherded roughly most “Intriguing People” of 2014. She is of the Honors of the Association award 40 productions to the stage including the executive director of the World Affairs from the American Speech–Language– commercially enhanced productions of the Council of Hilton Head and president of Hearing Association, which recognizes World Premiere of Newsies and the U.S. Premiere of the 25th Anniversary Tour of Les Misérables. Mimi resides in Maplewood, NJ with her partner of 22 years, Alicia Duran, and their children Lucas, 11, and Celeste, 8. Doug Long (MA’89, MFA’95) is the Director of the First-Year Program at De- Paul University, where he recently proposed a new class, “Hollywood’s Golden Year, 1939,” which he will teach for the first time in January. Over the summer, he researched the class in Hollywood, where he also vis- ited with many IU Teatre alumni. Jane Page (MFA ’83) is currently an Assistant Professor and Head of Directing at University of California, Irvine. Tis year she has directed the European premiere of Other Desert Cities for the English Teatre of Vienna. 1990s Taprena Michelle Augustine (BA’98) IU Theatre alumni gather at El Coyote, a restaurant in L.A. , for a mini reunion. From L to R: Vincent played Joplinaire, Chantel, and Bessie Ventresca (BS’), Mary McCloud (BA’), Mia (Lefkowitz) Drake Inderbitzin (BA’), Noelle (Kramer) Smith in A Night With Janis Joplin. Geiger (BA’), Doug Beebe (BA’), Chris Tickner (BA’), Doug Long (MA’, MFA’), Thor Stein- Julie York Coppens (BA’94) is Senior graber (BA’), Rhonda Reynolds (BA’), Kathy (Harmening) Beall (BA’), and Jon Emery (BA’). Associate Editor for Dramatics Magazine Photo submitted by Doug Long. and Teaching Teatre Journal.

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Steven Cole Hughes (BA’95) presented of Te Arsonists. You can also see Ira, along Europe, Off-Broadway, Te Access Teatre Way Out West at Stories on Stage in Denver, with fellow IU alum, Happy Anderson in Tribeca, premiere NYC concert venues CO. (MFA’02) in the fantasy film Te Dwarves (Joe’s Pub, Galapagos Art Space, Le Poisson Ben Livingston (MFA’90) performed of Demrel opening Spring 2015, and with Rouge, etc.) and at multiple regional the- in the Broadway run of Te Heiress in fellow IU alum Lia Mortensen (BA’88) in aters around the country. She created and 2012 and played Reverend Dunston in Te the independent film Resurrecting McGinns performed her one-woman show, Follow Library, directed by film-maker Steven – premiere TBA. Trough, at Te Laurie Beechman. Melissa Soderbergh, at the Public Teatre. Happy Anderson (MFA’02) is currently has taken part in developing numerous new Michael Riha (MFA’92) will be taking filming a recurring role in Cinemax’s 10 works, including her own project, Back To over as the Chair of the Department of part series Te Knick directed by Stephen Te Garden, which was recently produced Drama at the University of Arkansas, Fay- Soderbergh and starring Clive Owen. He at the Hangar Teatre in Ithaca, NY. Cur- etteville, after serving on the faculty since played supporting roles in the films Cold rently, she is making her way in Nashville, 1992. in July starring Michael C. Hall and Sam acting, singing, teaching master classes at Karen Walsh (BM’97) played Wife in Shepard, and Dynamite: A Cautionary Tale local universities, and serving as an acting/ Tenement/Woman in Bar in Roundabout with Carol Kane, Ian Harding, and Chaske audition coach. In the spring of 2014, Me- Teatre’s revival of Sophie Treadwell’s Spencer. He appeared in Te Carrie Diaries lissa will play the role of Kathy in Stephen Machinal. and the series finale of Smash. He was in Sondheim’s Company at Tennessee Reper- Steven Williams (MFA’95) is beginning Te 27th Man at the Public Teatre with tory Teatre. For more info and upcoming his 20th year at University of Nebraska Ron Rifkin and Chip Zien. dates, visit www.melissahammans.com. Omaha (UNO) where he is Director of Jennifer (Froehlich) Birnie (BA’03) In December 2013, independent film- Teatre for the Department. He is a free- and Andrew Birnie (BA’04) welcomed maker Eliza Hittman (BA’01), along with lance scenic, lighting, graphic, and jewelry daughter Carley Anastasia Birnie on June fellow IU alumna Hannah M. Fidell, designer who has designed over one hun- 13, 2013. Jennifer and Andrew reside in (BA’07), was a guest lecturer as part of the dred productions with such notable theatre Pittsburgh, PA. Jennifer is the Individual IU Cinema’s Jorgensen Guest Filmmaker companies as the Lake Tahoe Shakespeare Support Manager for the Pittsburgh Sym- Lecture Series. Hittman is an award-win- Festival, Nebraska Shakespeare Festival, phony Orchestra. Andrew graduated in ning filmmaker, born and currently based Omaha Community Playhouse, Te Rose July, 2013 with his M.B.A. from the Univer- in New York City. She received an M.F.A. Teatre, Teatre Aspen, Heritage Repertory sity of Pittsburgh’s Katz School of Business. from the California Institute of the Arts’ Teatre, Indiana University, Brown County Dennis Black (MFA’00) is a teacher, School of Film and Video in 2010, and Playhouse, and Mcleod Summer Playhouse. actor, and director at the University of her short films have been screened at the Since 1998, he has designed scenery for Southern Indiana and Ivy Tech Commu- Sundance Film Festival, the British Film Torn Productions, which produces, Te nity College. Institute, and the Guggenheim in Bilbao, Torn, one of the largest touring church Angelique Cabral (BA’01) will guest Spain. Hittman’s short film Forever’s Gonna productions in the country. Tis produc- star on Rainn Wilson’s new Fox show Start Tonight was listed on Indiewire’s “Best tion has been seen live by nearly 750,000 Backstrom this fall. She is also scheduled to of the Best” at Sundance in 2011 and her people and televised to over 20 million appear on the new NBC series Bad Judge. debut feature film, It Felt Like Love, was households. He was recently recognized And although cancelled by Fox, her series voted one of the Top Ten films at Sundance by the Omaha Teatre Arts Guild for Enlisted may be revived by Yahoo for a by Film Comment’s Laura Kern. Hittman Outstanding Scenic Design for A Streetcar second season. was named one of Filmmaker magazine’s 25 Named Desire, and Outstanding Lighting Eileen Curley (PhD’06) recently New Faces of Indie Film of 2013. Design for Dark Play, Or Stories For Boys. earned tenure and promotion to Associate Taylor James (BA’05) is now the Special His designs for Dark Play was also recog- Professor at Marist College in Poughkeep- Events Coordinator for the Evan Wil- nized by the Omaha Arts and Entertain- sie, NY. She is currently on sabbatical, liams Bourbon Experience in Louisville, ment Awards committee. He has recently working on a manuscript about nineteenth- KY. Even though she left NYC, she will designed a police investigation/training century amateur theatricals. continue to work for the Macy’s Tanks- facility for Project Harmony, a not-for- Colin Donnell (BA’05) played the role giving Day Parade as a Street Operations profit organization that is responsible for Monty in Violet, nominated for Best Re- Manager. the safety of children in domestic abuse vival of a Musical. Beth Miller (BA’01) has been nomi- and neglect cases. Rebecca Faulkenberry (BA’06) played nated for a Non-Equity Jeff Award for her 2000s Mary Jane Watson in Spiderman: Turn Off work in costume design on Promethean Ira Amyx (MFA’03) was nominated for the Dark. Teatre Ensemble’s A Study in Scarlet. an Equity Joseph Jefferson Award for Jose Antonio Garcia (MFA’03) was New York City-based actor Arian G. Supporting Actor for Seanachai Teatre nominated for Supporting Actor for Fallow Moayed (BA’02) received the IU College Company’s production of Te Seafarer. Ira produced by the Steep Teatre Company. of Arts and Sciences’ Outstanding Young also appeared in the world premiere of Te Melissa Hammans (BS’03) recently Alumni Award during the College’s An- Way West at Steppenwolf Teatre Company moved to Nashville, TN after 10 years nual Alumni Awards dinner in April. As last spring. He can currently be seen in living in New York City. While based students at IU, Moayed and actor Tom Strawdog Teatre Company’s production out of NYC, she performed in the UK, Ridgely, (BA’01) co-founded Waterwell, an

PAGE 15 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE experimental, multimedia theater com- Inspired by Sting’s own childhood experi- (BA’07)on his first full-length screenplay pany in 2002. Since moving the company ences, this World Premiere production titled Justin Unknown, which is about a to New York, Moayed and Ridgely have features direction by two-time Tony Award- gifted yet aimless young man who works in produced more than a dozen stage produc- winner Joe Mantello (Wicked), a book by a hospice facility and finds a kindred spirit tions and shows. Moayed, who also works Tony Award-winner John Logan (Red) and in an ailing Astronomy professor. Malia as Waterwell’s artistic director, received a Pulitzer Prize-winner Brian Yorkey (Next worked a long time with the Tribeca Film Tony Award nomination for Best Featured to Normal), and choreography by Olivier Institute alongside Robert DeNiro, and Actor in a Play in 2011, playing opposite Award-winner Steven Hoggett (Once). they intend to pitch the screenplay later Robin Williams in Bengal Tiger at the In July 2013, Andrew J. Rhoda (MA’06, this year. Baghdad Zoo. Moayed wrote and directed MLS’08) became the curator of puzzles at Amanda Tanguay Zimmerman the short film Overdue, which premiered the IU Lilly Library. He has worked at the (BA’06) and William C. Angulo (BFA’11) at the Cinequest Film Festival in March Lilly since 2008, first as a cataloging spe- both appeared in a production of Mary 2012. His second short film, Day Ten, set in cialist at the auxiliary library facility and, Poppins at the Marriott Teatre in Lincoln- New York City in the days following 9/11, since 2011, as rare-books cataloger. After shire, IL, near Chicago. Te production ran had its world premiere at the 2014 Tribeca graduating from Purdue University with a from Oct. 23, 2013 until Jan. 5, 2014. Te Film Festival. In 2015, filming is scheduled degree in theater, Rhoda came to Bloom- show received enthusiastic reviews in the to begin on Moayed’s debut screenplay, ington and earned a master’s degree in Chicago press, including the Chicago Sun- Tis Island Made Me. Te film follows an theater and drama and a master of library Times, Time Out Chicago, and Showbiz eleven-year old Iranian immigrant who science degree with a specialization in rare Chicago. tries to reunite his family for a concert. books and manuscripts in 2008. Jeff Tanski (BMEd’05) is currently the Hannah Moss (BA’08) and her hus- Justine Salata (BA’09) performed in associate conductor for Beautiful: Te Car- band David Nosko (BA’06) live in Pitts- two feature films this year, Drown and ole King Musical. burgh with their two children, Henrik (age Paper Dreams. 2010s 4) and Eleanor (age 1). Teir theatre com- Graham Sheldon (BA ’09) just finished Francesa Arostegui (BFA’12) is cur- pany, Teatre of the People, is on hiatus. filming a documentary (which he wrote rently cast in the National Tour of Mamma Charles Quinto Ott (BA’09) is now and produced) about a Pacific Island na- Mia. beginning his time with the 25th Anniver- tion contending with the effects of climate Charnette Batey (BFA’12) made her sary National Tour of Te Phantom of the change called Sinking Nation. New York City debut with Te Gallery Opera as Don Attilio. Wolf J. Sherrill (MFA’00) has been Players as Deena Jones in Dreamgirls. She Nicole Parker (BA’00) was recently in granted tenure and promoted to Associ- worked with fellow IU alumni in I love the world-premiere musical, Dog and Pony, ate Professor at James Madison Univer- NY, Right? (Lawrence Evan’s show) and she at the Old Globe Teatre. Next she will be sity. Wolf also recently reprised a role he recently joined the cast of HAIR’itage. She a featured performer this fall at the Hous- originally played at IU, Pantalone in Te is going on tour in January with Seussical ton Symphony POPS in their program Servant of Two Masters, at the Avignon Off the Musical as Sour Kangaroo. “Wicked Divas.” festival this past summer in France. Wolf Andranise Baxter (BS’11) finished her Chris Payne (BA’01) received his is also a contracted voice over talent for first year of law school and earned an in- M.F.A. in Makeup and Wig Design from Rosetta Stone. ternship with the National Endowment of the University of Cincinnati and moved Rebecca R. Solomon (BAJ’06) is a the Arts this summer. to Los Angeles, where he spent 5 years reporter and fill-in anchor at television Eryn Blair (BFA’14) was awarded a working in film and television. He has now station WPMT, which broadcasts in several Joann Athenas, National Society of Arts moved to Chicago and is a freelance make- Central Pennsylvania markets, including and Letters (NSAL) Bloomington Chapter up artist and works for the Lyric Opera. her hometown of Harrisburg. She previous- award in Contemporary Dance to attend Chris owns Instant Monsters, a prosthetics ly worked for media outlets in Wisconsin, the Bates Dance Festival. She recently com- and makeup supply company. Ohio, Tennessee, and New York. pleted her Yoga Teacher Training Certifica- Matt Reynolds (BA’08) is the Teatre Zach Spicer (BA’06) worked on a new tion at Vibe Yoga Studio. Manager and Resident Lighting and Sound New York-bound play at the City Teatre Jenna Blumenfeld (BS’10) has been Designer at New Mexico State Univer- in Pittsburg called Abigail/1702 (a sequel promoted to Senior Food Editor for sity. His wife, Mollie Reynolds (BM’08), to Arthur Miller’s Te Crucible), and then Natural Foods Merchandiser and Delicious teaches at the Las Cruces School of Dance worked Off-Broadway at Te Pearl Teatre Living magazines. & Music and plays for the Las Cruces Sym- in their production of You Never Can Leslie Bush (BS’12) will begin an phony Orchestra. Tey have two children: Tell by George Bernard Shaw which was M.F.A. program at Temple University this Lucy (age 5) and Hugo (2 months). spotlighted by the New York Times. He has fall. Tom Ridgely (BA’01) is the associate also worked on several TV shows including Arika Casey (BFA’14) has been accepted director of Te Last Ship the new musical Law & Order SVU, CSI:NY, and a recur- as a member of Dayton Contemporary opening on Broadway September 29, 2014 ring role on All My Children. Dance Company TWO. at the Neil Simon Teatre. Te Last Ship He is currently taking up the pen and Lovlee Carroll (BFA’10) is working as is a new musical with an original score by working with fellow IU grad and Feath- an actor in L.A. and has found success in 16-time Grammy Award-winner Sting. eringill Award-winner Malia Tilden the web space. “Te New Adventures of

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Peter and Wendy” is a digital TV series pro- Festival of the Lion King show, touring with ing Company at Stage I Dance Academy duced by the Emmy-winning Jenni Powell Rock Your Disney Side hip-hop show, and is in Indianapolis, taught for the IU Intensive (“Te Lizzie Bennet Diaries”). In “Te New a featured dancer for Disney holiday shows, for High School Students, and has been se- Adventures of Peter and Wendy,” Carroll parades, events, and promotions. lected to show her choreography at Motus plays series regular Lily Bagha (aka Tiger- Kerry Ipema (BFA ’11) recently played Dance Teatre’s “Cultivate” Performance in Lily). Based on J.M. Barrie’s classic novel Rosalind in As You Like It at both the Bath November. Peter Pan, the gang is all grown up, living and Camden Shakespeare Festivals in Jason Orlenko (MFA ’12) is the assis- in Neverland, Ohio, and working at the lo- Maine. www.kerryipema.com. tant costume designer at American Players cal paper called Te Kensington Chronicle. Derek Jones’ (MFA’14) Design Expo Teatre in Arena, WI and is also working “Te New Adventures of Peter and 2014 entry for his lighting design for as a freelance costume designer for several Wendy” is getting some major buzz. Tey IU Teatre’s production of Chicago was theatres in the Milwaukee area. He was the are halfway through the first season (just published in the United States Institute assistant costume designer for Much Ado over 100k channel hits, some stellar press, for Teatre Technology’s (USITT) Teatre About Nothing at the American Player’s over 10,000 YouTube Subscribers and about Design and Technology journal. Teatre and is currently assisting fashion to hit VidCon - the YouTube convention) Shannon Kazan (BFA’14) will begin an designer Cesar Galindo in his costume and are enjoying the transmedia ride. Visit apprenticeship with Eisenhower Dance this design for Skylight Music Teatre’s La the official website: thenewpeterandwen- fall in Rochester, MI. Shannon, current Cenerentola. dy.com student Eryn Blair, and Kim Fahnestock Joanna Paul (BS’10) was accepted into Taylor M. Crousore (BFA’13) was the (BFA’14) received the Jane Fox Scholarship Cerqua Rivera Dance Teatre in Chicago, Male Swing in Forbidden Broadway this from Indiana University. IL. spring, and will join the cast of NEWSi- Courtney Lucien (BA’14) performed in CJ Pawlikowski (BFA’12) most recently cal the Musical as the Male Swing this fall. Cardinal Stage Company’s production of had the pleasure of working with compos- Taylor also traveled to the Cannes Film Les Misérables at the end of June, and is ers Kyle Ewalt and Michael Walker on Festival in May to promote the short film currently working through May 2015 with their latest staged-reading of Pumped. Tis he created with the Riben Collective titled Cincinnati Shakespeare Company as part past May he played Jonny Casino/ Teen Sheet Wow. of the Touring Ensemble. Angel in Grease at Gateway. He made his Nathan Alan Davis (MFA’14) had his Kelly P. Lusk (MFA’14) had his play (a New York Musical Teatre Festival debut play, Dontrell, Who Kissed the Sea, selected love story) selected as one of nine scripts to as Gilbert Blythe, in the new Anne of Green as one of six scripts to be produced in the be produced in the Orlando Shakespeare Gables musical Bend in the Road. He was 11th Annual National Showcase of New Teater’s PlayFest! - Harriet’s New Play also in the new musicals Bare and Te Ride Plays, hosted December 6-8, 2013 in San Series, November 8-10, 2013 in Orlando, and is featured on the original soundtrack Diego, CA. Dontrell also received a produc- FL. Kelly’s play Lacy and Ashley Live in a recording of Small Town Story (comp. tion at Source Fest in Washington, D.C. in Trailer Now was part of At First Sight new Brandon James Gwinn). He has performed June. Nathan’s most recent play, Te Art of play festival in March 2014. in various concerts throughout the city in- Bowing, was part of the At First Sight new Meghan McGill (BS’11) is earning her cluding Jeremy Schonfeld & Te Broadway play festival in March 2014. M.B.A. at Vanderbilt University and was Messiahs alongside Titus Burgess (Te Little Aaron Densley (BFA’13) is currently in awarded a summer internship at Johnson Mermaid) and Morgan James (Motown), the M.F.A. acting program at Penn State and Johnson. and Stars in the Heights under the direc- University. Nathan Mittleman (BFA’12) currently tion of David Holcenberg (Matilda). He Kelli Dowling (BS’13) will begin her lives in Chicago. Since relocating to the is a proud new member of Actors’ Equity M.A. in Performing Arts Administration at Windy City after graduation, he has ap- Association. NYU this fall. peared in Shrek (Chicago Shakespeare Courtney Ramm (BS’10) presented her Kim Fahnestock (BFA’14) was awarded Teater); 42nd Street (Paramount Teatre); work this winter in NYC at the Hatch a Staff Assistant Scholarship to the Ameri- Signs of Life (Victory Gardens Teatre); Presenting Series. can Dance Festival. A Christmas Carol, 42nd Street (Teatre at Allison Schwartz (BA’14) received a Ryan Gohsman (BA’10) was the as- the Center); Fade Out-Fade In (Porchlight B.A. in theatre and drama with a minor in sistant stage manager for the Public Music Teatre); and Oliver!, Man of La telecommunications from IU this past May, Teater’s production of Here Lies Love this Mancha, Camelot (Light Opera Works). after completing her college education in summer, and will accompany the produc- Joe Musiel (BS’13) won Inaside Chi- just three years. Allison has been a featured tion as it moves to the National Teatre in cago’s Choreographic Sponsorship Event blogger on Tought Catalog, TeaterMania London in September. and was just cast as Mr. Mistoffelees in Cats U, and for the Broadway Dreams Founda- Rachel Goldman (BA’13) has been the musical choreographed by Harrison tion. Last summer, she interned at Telsey + working for casting director Pat McCorkle, McEldowney at the Paramount Teater in Company Casting in NYC, and is thrilled at McCorkle Casting Ltd., sitting in on Aurora, IL. to have permanently moved to the city. She auditions and learning about the casting of Rebecca Newbrough (BFA’14) has been spent this past summer as a PR/Advertis- film, television and theatre. hired as a full-time Health Fitness Specialist ing intern for Daryl Roth Advertising, and Elizabeth Jenkins Guilfolye (BS’11) is for the National Institute for Fitness and in August, began her job at KMR Talent currently dancing in Walt Disney World’s Sport. She is Co-Director of the Perform- Agency.

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Kurt Semmler (BFA’13) is currently liv- tion Teatre company. He’s also a teaching ing in NYC and is cast in Forever Plaid artist with the Shakespeare Teatre and as Sparky at ATI which opens in January. with the Young Playwright’s Teatre. At the end of the show he will be a proud Deana Nichols (MA’08, PhD’14) member of Actors’ Equity. received her Ph.D. in Teatre and Drama Jennifer Sheshko (MFA’11) accepted in May when she defended her dissertation the tenure track position of Assistant Pro- entitled “Scottish Teatre and Drama in fessor of Costume Design at the University the Age of Devolution.” Her dissertation of Northern Iowa. examines the intersection of theatre and Hana Slevin (BFA’12) appeared in Rent political developments in contemporary with fellow alum, Marc Winski (BA/ Scotland, specifically from the years im- IMP ’10) at the Gallery Players Teatre in mediately preceding the 1997 Devolution Brooklyn, NY in May. Referendum to the present and beyond, Adam St. John (MFA’14) graduated anticipating the September 2014 Indepen- from IU in May, acted in the two IFT rep- dence Referendum. Using insights gleaned ertory plays (Twelfth Night and Te Miracle from numerous interviews with the prac- Worker) then moved to Seattle, WA with titioners discussed and substantial archival his wife and new baby, Stella. In August he research, she employs a theoretical lens of found out he had been cast in two projects, postcolonialism to argue that discussions of an indie feature film playing a detective, contemporary British theatre, political the- and as Katurian in Te Pillowman at Sec- Recent Ph.D. graduate Deana Nichols. atre, and postcolonialism can, and should, ond Story Rep. be enriched through the deployment of Carrie VanDoren (BFA’13) is currently Jaysen Wright (MFA’12) appeared in plays and productions of contemporary a cast member of Disney Cruise Line’s the inaugural production of Te Welder’s Scotland. Fantasy cast as one of their mainstage Teatre Company’s Te Carolina Layaway Deana received her M.A. from IU in performers. She sails 7-day cruises to the Grail and he just finished a run of Pinkali- 2008 and a B.A. in Teatre and a B.A. in East and West Caribbean and performs 15 cious: Te Musical at Adventure Teatre English Education from Abilene Christian shows a week: Disney’s Aladdin, Believe, Musical Teatre Center. His next produc- University in Texas. While at IU, Deana Wishes, a welcome aboard show, a farewell tion is Take Me Out at 1st Stage (he will has published several articles, presented at show, a pirate deck show, and a Royal tea be reprising the role of Darren Lemming numerous conferences at the regional and party show. which he played at IU). Tis winter he’ll be national levels, has served as director and Brook Wood (BFA ‘13) is currently a making his debut at the Studio Teatre in dramaturg for many creative projects for finalist in NYMF’s Next Broadway Sensa- Choir Boy, and this spring he’ll be appear- both independent projects and mainstage tion. ing in Te Fire and the Rain at Constella- productions, and has taught several courses.

Stages and Insights

Tis combined issue of Teatre Circle Insights and Stages has been compiled and edited by Sarah Campbell. Other writers and proof- readers include: Drew Bratton, Paul Brunner, Selene Carter, Trish Hausmann, Jonathan Michaelsen, Brennan Murphy, Miriam Poole, Michael Rodriguez, Allison Schwartz, and Liz Shea. We thank them and the designers who have provided their renderings for both Te Mystery of Edwin Drood and M. Butterfly.

This complimentary copy is provided courtesy of the Theatre Circle. Theatre Circle Insights Pride and Prejudice, In the Red and Brown Water, Good Kids, Romeo and Juliet, At First Sight, and Into the Woods. Theatre Circle Insights

PAGE 18 FALL 2014 STAGES Theatre Circle Insights Published 4 times a year for members of the Theatre Circle Season 2014-15, Issue 1 Piña Coladas and 19th-Century Literature: the Enigmatic Career of Drood Creator Rupert Holmes

modern-day Renaissance Aman and jack-of-all-trades, Rupert Holmes’ career has included several Broadway mu- sicals like Te Mystery of Edwin Drood, celebrated plays like Say Goodnight, Gracie, mystery nov- els like Where the Truth Lies, and perhaps, most famously, pop songs, like his smash hit “Escape (Te Piña Colada Song).” Holmes was born in England, the son of an American father and a British mother and moved to a suburb of New York City when he was a child. Music was a part of his life from an early age and both parents considered themselves musically inclined. As a teen, Rupert Holmes was a part of recording sessions for artists like Te Drifters, Te Platters, Gene Pitney, and Te Cuff Links. Holmes also wrote the song “Echo Valley 2-6809” for Te Partridge Family televi- sion show. He has collaborated with artists like Barbra Streisand, Renée Rupert Holmes at his piano in . Fleming, Britney Spears, Barry Manilow, Musical (Wilford Leach). Drood also won 8 well as countless professional and university and Wyclef Jean as an arranger, composer, Drama Desk Awards, including: Outstand- productions. Recently Holmes collaborated lyricist, and conductor. ing Musical, Outstanding Book, Outstand- with Marvin Hamlisch on a musical version In 1985, Holmes’ adaptation of Charles ing Actor in a Musical (George Rose), of Te Nutty Professor and wrote the score Dickens’ final and incomplete novel, Te Outstanding Feature Actress in a Musical for Steven Soderberg’s movie Behind the Mystery of Edwin Drood, premiered at the (Jana Schneider), Outstanding Director of Candelabra. Delacorte Teatre, later moving to Broad- a Musical (Wilford Leach), Outstanding Holmes continues to express an interest way for a run of 608 performances at the Orchestration, Outstanding Music, and in adapting works of 19th-century novelists Imperial Teatre. Te title was later short- Outstanding Costume Design (Lindsay W. and is currently working on a musical ver- ened to Drood during the original Broadway Davis). Te 2012 revival was nominated for sion of Oscar Wilde’s Te Picture of Dorian run and it is now known by both names. 5 Tonys and 7 Drama Desk Awards (Tony Gray. Holmes composed the book, lyrics, music, Meola won for Best Sound Design in a Holmes’ successful career has spanned and orchestrations for Drood, an unusual Musical). decades with exploits into many diverse feat rarely attempted in musical theatre. Holmes’ award-winning production had fields including writing lyrics and music for Te musical won five Tony Awards includ- a West End production in London at the musicals, plays, novels, movies, pop songs, ing: Best Musical, Best Book of a Musical, Savoy Teatre, a Broadway revival at the and television shows. Holmes lives with his Best Original Score, Best Actor in a Musical Roundabout Teater, two national tours, as wife and two children in upstate New York. (George Rose), and Best Direction of a

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Victorian Music Halls Rupert Holmes’ adaptation of Te Mys- tery of Edwin Drood sets its scene in Vic- torian London at the Music Hall Royale where the actors are preparing for a pro- duction of Dickens’ Te Mystery of Ed- win Drood. Music hall is just one of the inspirations that Holmes drew from in creating Drood. To better understand the musical it is helpful to have a little back- ground on the genre. Te Victorian music hall tradition was a particular variety of popular entertain- ment that thrived for over 100 years in England. Peter Bailey notes that: the origins of music hall are to be found in a closely related yet diverse cluster of institutions providing popular entertain- ment in the rapidly expanding towns and cities of the 1830s and 1840s. Music hall became solidified as an in- stitution in the 1850s, and in the 1860s and 1870s music hall flourished in popu- larity: “growth was registered not only in the number of halls, but in the scale and commercialization of their operation... Performers became more or less [a] pro- fessionalized labor force.” It is in the 1890s that music hall actors had an increasing desire for their art to be recognized as a more respectable form of theatre. Music hall’s continuing aspirations to dramatic legitimacy were registered in Oxford Music Hall, . the increasing prevalence of the sketch or dramatic episode. Te character of such pieces ranged from raucous knock-about to revue style sophistication but its dis- Charles Dickens died in 1870, having fin- placement of other traditional items con- ished only six of his proposed twelve serials firms, in part, a conscious shift in pro- of Te Mystery of Edwin Drood, what was to gramming to cater to a more numerous be his fifteenth novel. Dickens’ sixth install- lower-middle and middle-class element ment ends with the arrival of the mysterious in the audience. detective Dick Datchery, six months after Holmes’ adaptation reflects this new the disappearance of Edwin Drood. trend in the evolution of music hall, At the time of his death, Dickens failed where the presentation of a more tradi- to leave behind any clear indication of tional “play” would have been a more where he intended his novel to go– no notes common, albeit still new, approach. or details of his intentions for future install- ments. What has puzzled most Dickens Source: and Drood scholars, as Edward Blishen Bailey, Peter. Music Hall: the Business of notes, is that his “mystery is less than totally Pleasure. Philadelphia: Open UP, 1986. mysterious. Tat’s to say, the element of the whodunit is very small, if it exists at all. Every clue points to the murderer of Edwin Drood.” If Dickens had intentions of the murderer (there is also the question of

PAGE 20 FALL 2014 STAGES whether Edwin Drood was actually mur- musical, I hit upon the idea that I would dered) being anyone other than the obvious not try to do my mock-Dickensian ending. choice “then we must say that Dickens was Instead, I would find some way to allow in a fix: and that to get out of that fix in the the audience to vote on several of the remaining half-dozen installments would questions raised in the plot, and have the have required startling narrative acrobatics.” possibility of a different outcome at every Tough it seems quite obvious who the performance. Because, to me, entering the guilty party is, that has not stopped future theatre, that would be the absolute height writers from attempting to finish Dickens’ of theatricality, and would do something, unfinished novel in surprising ways. Besides especially in those days, that could not be these feats of “narrative acrobatics” taken up done in any other medium — that of the by subsequent “continuers” there is another actors knowing the audience is there and problem of attempting to conclude Dickens’ the audience collaborating with the com- novel, that of style. Blishen adds that: pany to create an ending. most of these attempts have tripped at the Despite, and perhaps because of, its very start over that huge obstacle which unfinished nature, Te Mystery of Edwin is Dickens’ manner . . . a fabulously rich Drood has captured and retained the curios- complexity of language and spirit. Perhaps ity of Dickens scholars since his death in never more than in Edwin Drood did 1870. If the past is any indication, it seems Dickens demonstrate that, when it comes that we will be assured a steady stream of to great writing, narrative and voice are delightful completions in the years to come. inextricable. Here is narrative at its most carefully organized: here is the voice at its Sources: most splendid, in one sense at least, since lem in his musical version of Te Mystery of Blishen, Edward. “An Introduction by Edward it had to be what it freely was, given any Blishen.” Introduction. Te Mystery of Edwin Drood. Edwin Drood. In an interview with Adam By Charles Dickens and Leon Garfield. Norfolk: object whatever to contemplate, together Hetrik in Playbill, Holmes remarks: Lowe & Brydone, 1980. ix-xv. with what it fixedly must be, or what it Ten there came the thought of, “How do I Holmes, Rupert. “A Conversation With Rupert must be within strict limits, in relation to deal with the fact that it’s an unfinished Holmes: Te Man Behind the Music and the Mys- obligatory details of intricate storytelling. work?” And within a day or two of first tery of Edwin Drood.” Interview by Adam Hetrik. A Holmes was faced with the same prob- considering the show as the subject of a Conversation With Rupert Holmes:. Playbill.com, 7 Feb. 2013.

PAGE 21 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE

Scenic Design by Reuben Lucas.

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Costume Design by Eriko Terao.

PAGE 23 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE A Conversation with Eriko Terao, M.F.A. Costume Design Student a show. My professor put me on wardrobe tory. I didn’t know that much about British crew and I had so much fun. It was very eye- history so it has been a big challenge for me. opening for me. I have researched what was happening then, Tey only had two costume classes. So what kind of mood and environment they most of what I learned was from my work had, and what their social perspective was. It study in the costume shop. When I started was a lot of learning about the culture. there were only two other students doing costuming, so I was able to get a lot of indi- How has it been working on the first show vidual support. of the season? No one wants to do the first show as Did you design for shows when you were their thesis. It’s both good and bad. I didn’t at University of Central Arkansas? have to have everything finalized by the end Yes, I designed four shows. I did two of the semester; we had the summer to work children’s shows and two mainstage shows. on it. In fact we are still discussing possibili- We didn’t have a big budget. Te way that ties. But it is also a challenge because we it works here versus my undergrad is totally have students coming in at the beginning different. In my undergrad we didn’t have of the semester and we have to teach them. the budget to pay attention to detail, the So we are going to lose about two weeks [of goal was to get the silhouette and that was it. build time]. So we have to think about what he Mystery of Edwin Drood will be Tere wasn’t enough time and there wasn’t we can do. We have to think about rentals TEriko Terao’s thesis project. In early enough labor. But here, the budget is bigger and what we can alter that we already have August, I sat down with her to discuss her and we have a lot of support and a lot of in stock. It is just a completely different background, her work here at IU, Drood, students from the costume classes that can process. and where she hopes the future will take her. help, so that is great. Why Drood? Tell us a little about yourself. Where are What have you done so far at IU? Learning about people and cultures has you from? What brought you to IU? Well the first semester, I designed cos- been a learning opportunity for me here I’m originally from Japan. I went to tumes for God of Carnage. It was a really and Linda has really helped me with it. So I undergrad in Arkansas at the University of small show, probably the smallest I’ve ever thought Drood would be a good choice for Central Arkansas. I never really had any designed for; it’s only four characters. And me because it would help me to continue to theatre experience before undergrad so it then I did Cat on a Hot Tin Roof, which is do that. I’ve done a lot of research for the was a really great place to start because it was set in the 1950s in the South. (It helped that show. I also did the London study abroad so small. I learned a lot there. It’s where I I lived in the South!) And then last semester program this summer with Linda and I was started doing costumes. I designed for Te Art of Bowing, which was able to go to museums and see the actual When I graduated, I went to URTAs a part of the new play festival. garments and travel to the places that were (University/Resident Teatre Association), mentioned in the script. So while it is a chal- but I wasn’t really sure about it. My family in So what has it been like working with the lenge for me to do my thesis project for the Japan wanted me to come back home. But other designers? Does the fact that Drood first show of the semester, I thought it would when I went to URTAs I met Linda Pisano is a musical change your process? be the best choice. and I just fell in love with her and thought: Well the process is not that different “okay I need to go to IU.” And fortunately from a straight play, but this is my first Do you know what you want to do after she picked me and that’s just how it worked musical ever. So it’s been important for me your graduate? out. to understand what kind of movement or Well right now, I’m debating on whether choreography they are considering. Espe- or not to go to Japan and find a job or stay Did you know going in that you wanted cially because this is a period musical, the in the states and try to find one. Looking for to do costume design, or were you still actors have to be in period costume but still jobs is completely different in Japan than it unsure about it? be able to dance and sing so that’s a big chal- is in the US, so it has been a big decision. I didn’t know that I was going to do lenge for me. But, I will most likely stay here another year costuming. At my undergrad, we had to take It is set in Britain in the Victorian era, and work in regional theatre and learn a a course where you were required to work on which is such an iconic time in British his- little bit more before I go home.

Interview by Sarah Campbell

PAGE 24 FALL 2014 STAGES A Metamorphosis of Expectations: Stereotypes of the East and West in David Henry Hwang’s M. Butterfly

avid Henry Hwang’s play M. themes in Puccini’s Madame Butterfly. men specialized in female characters to fill DButterfly has been performed both In addition to the inclusion of Puccini’s the void. Remarkably, the revelation of his nationally and internationally since its opera the other major source for Hwang’s lover’s gender doesn’t occur to Gallimard successful Broadway run for which it won play was the real-life case of spies Bernard until the trial for espionage some twenty three Tony Awards, including the award for Bouriscot, a French diplomat, and male Be- years later (in both the real account and the Best Play, and three Drama Desk Awards. jing Opera singer Shi Pei Pu, who in 1986, play version). Hwang admits that he believes In an interview with the playwright were brought to trial in France for espio- that Gallimard, deep-down, knew all along conducted by John Louis DiGaetani and nage. Te story of the play closely follows that Song Liling was a man. But his fantasy published in Te Drama Review (TDR), that of the real-life inspirations but Hwang of a weak, submissive oriental mistress was Hwang remarks: remarks that ultimately these characters masking the truth. Hwang remarks that, I wrote M. Butterfly to deal with some are not exact replicas of their real counter- as a metaphor, the story made perfect sense aspects of orientalism. I assumed that many parts. “ . . . the play is not literally based on in the context of the general misunderstand- in the audience would be coming to the [Bouriscot]. I don’t know that it’s his story.” ing that I have always perceived takes place theatre because they hoped to see something In both the true story and fictitious between these different groups. In retrospect, exotic and mysterious, but what exactly is interpretation of it, Bouriscot (or Gallimard, it seems to me that that was what really behind the desire to see the “exotic East?” as he is referred to in the play) travels to piqued my imagination. I felt the impos- To explore the East, and the West’s China in the 1960s as a diplomat where he sibility of the situation and the inevitability misperceptions of it, Hwang used the meets Shi Pei Pu (or Song Liling, in the of it, both at the same time. already well-known opera Madame Butterfly play). During the course of their relation- In the end, Hwang’s play searches for, and by Giacomo Puccini. Tis early 20th cen- ship Gallimard passes along intelligence hopes to encourage, a better sense of com- tury opera explores the relationship of U.S. information to Song, which later leads to munication and understanding between naval officer B.F. Pinkerton and his young their accusation and subsequent conviction different cultures: Japanese bride, Cio-Cio San, his “butterfly.” for espionage. Gallimard falls in love with one of the more simple things that the play’s “In terms of Western misperceptions,” Song Liling after hearing Song perform trying to say is that eventually one must look Hwang remarks, “there is Edward Said’s “Con onor muore” (“To die with honor”), past all the cultural stereotyping we do of term, ‘orientalism.’” Hwang notes that he the final song from Puccini’s Madame But- each other, West to East and East to West, didn’t read Said’s book until after he had terfly. Gallimard develops a fascination with and deal with each other just as humans written M. Butterfly: the singer, never realizing that his love is not if we’re really to reach any point of true John Dexter, the play’s original director, in fact a woman, but a man pretending to understanding. recommended it [to me]. It was one of the be one: even though Gallimard frequently reasons he was interested in doing the play. attends the Beijing Opera (also known as Source: Hwang, David Henry. “M. Butterfly: An Interview with Tis [Western] notion that the East is mys- Peking Opera) to see Song, he never learns David Henry Hwang.” Interview by John Louis terious, inscrutable, and ultimately inferior, that women were originally banned from DiGaetani. TDR 33.3 (1989): 141-53. Print. is something that definitely is consistent with performing onstage in China, and some Guest Artist Nathaniel Braga joins cast of M. Butterfly

New York-based actor Nathaniel Braga will piter Teater (Carbonell Award Nominee), be traveling to Bloomington to star as Song Alabama Shakespeare Festival, and Teater Liling in IU Teatre’s production of M. Under the Stars–Houston. Chicago Area Butterfly. Braga recently played Song Liling Teaters include: Marriott Lincolnshire, in the Court Teatre’s production of M. Drury Lane Oakbrook, and Teater at the Butterfly which closed in June. Center. Nathaniel also spent two seasons at Braga graduated from Columbia College the MUNY St. Louis. Television: HMS Pin- with a B.A. in musical theatre and is a cur- afore (PBS Fall Arts Festival). He is a two- rent member of Actors’ Equity. time Minnesota State gymnastics champion Previous credits include: Guthrie Te- and plays the violin professionally. ater, North Shore Music Teater, Maltz Ju-

PAGE 25 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE

Scenic Design by Bridgette Dreher.

PAGE 26 FALL 2014 STAGES David Henry Hwang

ew writers have turned issues around Fethnicity and identity into a widely ac- claimed and award-winning career like Da- vid Henry Hwang. Tis Chinese American playwright, described by the New York Times as “a true original” and by TIME magazine as “the first important dramatist of Ameri- can public life since Arthur Miller,” is best known as the author of M. Butterfly. Tat enduring 1988 work, which won a Tony Award, Drama Desk Award, John Gassner Award, and Outer Critics Circle Award, was also a finalist for the Pulitzer Prize. To date, M. Butterfly has been staged in over four dozen countries and was the basis for a major motion picture. To describe Hwang as a major American dramatist is something of an understate- ment. His play, Golden Child, premiered Off-Broadway at the Joseph Papp Public Teater, received an Obie Award, and subsequently played on Broadway, where it received three Tony nominations. Yel- low Face, which premiered at Los Angeles’ Mark Taper Forum and New York’s Public Teater, also won an Obie Award, and was a finalist for the Pulitzer Prize. Chinglish premiered at Chicago’s Goodman Teatre, where it won a 2011 Jefferson Award for Best Photo credit: Lia Chang New Work, before moving to Broadway nomination, and Disney’s Tarzan, which A native of Los Angeles, Hwang at- and being named Best New American Play played on Broadway and has been run- tended Stanford University and the Yale of 2011 by TIME Magazine. Other plays ning for six years in Europe. Hwang also University School of Drama. From 1994– from his 30 year career include FOB (Obie co-wrote the book for the international hit 2001, he served by appointment of President Award), Te Dance & the Railroad (Drama Aida, with music and lyrics by Elton John Bill Clinton on the President’s Committee Desk Nomination, CINE Golden Eagle and Tim Rice. It won four Tony Awards and on the Arts and the Humanities. In 2012, Award), and Family Devotions (Drama Desk ran over four years on Broadway. Currently, Hwang received the William Inge Award for Nomination). Hwang is writing Te Forgotten Arm with Distinguished Achievement in the American According to Opera News, Hwang is singer/songwriter Aimee Mann and Paul Teatre, the Asia Society Cultural Achieve- America’s most-produced living opera libret- Bryant, based on her album, for the Public ment Award, the PEN/Laura Pels Award for tist. He has written four works with com- Teatre. a Master American Dramatist, as well as the poser Philip Glass, including 1000 Airplanes Hwang’s screen work is just as notable. Steinberg Award for playwriting, the largest on the Roof, while other of his libretti have He penned the screenplay for M. Butterfly, monetary prize in the American theater. been performed at the Metropolitan Opera, a Warner Brothers release directed by David Hwang succeeded Athol Fugard as the Santa Fe Opera, Bavarian State Opera, Lin- Cronenberg; Golden Gate, directed by John Residency One Playwright at the New York coln Center, Spoleto Festival USA, and else- Madden; Te Lost Empire, a four-hour City’s Signature Teatre, which is currently where. Te Deutsche Grammofone record- NBC television miniseries; and co-authored producing a season of his work, including ing of his libretto for Ainadamar won two Possession, starring Gwyneth Paltrow. He is the world premiere of his most recent play, Grammy Awards after having spent time currently writing a feature for Dreamworks Kung Fu, about the iconic martial artist at the top of Billboard magazine’s classical Animation, as well as the movie adaptation Bruce Lee. In 2014 David Henry Hwang music charts. His most recent libretto is for of Chinglish, to be directed by Justin Lin was named director of Columbia Univer- An American Soldier, with music by Huang (Fast and Furious). In 2013, his Yellow Face sity’s School of the Arts’ M.F.A. program in Ruo. Te opera premiered at the Kennedy became the first major play to be adapted playwriting. Center Terrace Teater in June 2014. specifically for YouTube, produced by Justin Hwang lives in Brooklyn with his wife, Hwang’s Broadway musicals include a Lin. Hwang is also developing an original actress Kathryn Layng, and their two chil- new book for Rodgers & Hammerstein’s television series, Shanghai, for Lionsgate and dren. Flower Drum Song, which earned a Tony the Bravo Network.

PAGE 27 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE Faculty Notes

Adjunct instructor Jennifer Adam Bai- national tour of ley (contemporary dance) will join the Annie, which she faculty of the Jacobs School of Music Ballet choreographed. Program. Te tour of An- Adjunct instructor Kelly McCormick nie will begin in Bangs (contemporary dance) has just fall 2014. She is opened a new studio for music, fitness and also conducting dance in Bloomington: KMG Studio for research for her Movement and Music. book-in-progress, In September, Assistant Professor of Making Broad- French and adjunct Assistant Professor in way Dance. Her the Department of Teatre, Drama, and research is funded Contemporary Dance, Alison Calhoun by a grant from (history, theory, and dramatic literature) the College of presented a Teatre Circle Lecture for Te Arts and Hu- Imaginary Invalid titled “‘Tis Fatal Mar- manities Institute riage’: Te Critique of Opera in Molière’s (CAHI) at Indiana Te Imaginary Invalid.” Her informative talk University. In Assistant Professor Jennifer Goodlander at Angkor Wat in Cambodia focused on comedy, music, and Molière’s addition she is incensed assault against the composer Lully, preparing for two Christmas projects for studied the Khmer language and conducted his former collaborator turned rival. which she will serve as director/choreogra- research on Cambodian shadow puppet- Assistant Professor Selene Carter (con- pher: Rudolph the Red Nosed Reindeer for NY ry. temporary dance) will present her performa- Pops @ Carnegie Hall and A Charlie Brown Last year, Jennifer Goodlander’s (history, tive paper, “Talking In: Telling as Writing in Christmas for San Francisco Symphony. She theory, and dramatic literature) chapter Improvised Dance Performance” in October continues to serve on the SDC executive “Local Traditions and National Identity: for the joint Society of Dance History board and is a Tony Nominator and Voter. Youth and Dance in Bali” was published in Scholars/Congress on Research on Dance Tis summer Jennifer Goodlander (his- the book Nationalism and Youth in Teatre conference, Writing Dancing/Dancing Writ- tory, theory, and dramatic literature) trav- and Performance, edited by Victoria Pet- ing at the University of Iowa, Iowa City. Se- eled to Southeast Asia to conduct research tersen Lantz and Angela Sweigert-Gallagher. lene is also teaching a creative workshop at on puppetry as part of the Mellon Innovat- In March she won the Robert A. Schanke the International Conference on the Evans ing International Research, Teaching, and Research Award which is an award given Method: Applications of the Evans Laban/ Collaboration/Mellon Short Term Faculty annually to an untenured faculty presenter Bartenieff Based Technique to Teaching and Fellowship. She stayed in Indonesia for three at the Mid-American Teatre Conference’s Creative Practice at Te College at Brock- weeks where she continued to study Balinese Teatre History Symposium for her paper port, State University of New York. wayang kulit (shadow puppetry) and then “Khmer Identities through the Arts after the Ray Fellman (musical theatre) spent a traveled to Bandung for a week as an invited Killing Fields in a Post 9/11 New York City.” good part of the summer in Brunswick at presenter at the Gunungan International Andrew Hopson (sound design) de- Maine State Music Teatre conducting a Puppet and Mask Festival. signed sound for Sonia Flew at the Jew- musical based on the life of Civil War hero Jennifer traveled to China next where ish Teatre of Bloomington (dir. Martha Joshua Lawrence Chamberlain. Chamber- she performed Balinese wayang kulit, which Jacobs) and is currently working on the lain, written by Steven Alper and Sarah won her an award for Group Performance, score and sound design for Te Two Gentle- Knapp, had 24 performances and was direct- and presented a paper on puppetry and men of Verona (dir. Tim Ocel) which is being ed by multi-Jeff Award winner Marc Robin. museums in Indonesia for the first UNIMA produced by the Indiana Repertory Teatre Te cast included Kathy Votko (currently in (International Puppetry Association) Asia- this September. A Gentleman’s Guide to Love and Murder), Pacific International Puppet Art week in Suzanne Lappas, (contemporary dance) James Paterson (cast in the upcoming revival Nanchong, China. She received an East adjunct instructor, is currently in rehearsals of Gigi) and Mike Schwitter (currently star- Asia Studies Center Travel Grant Award to with Selene Carter (choreographer) and ring in the revival of Pippin). In August, Ray present her paper, “Understanding Puppets Stephanie Nugent (fellow performer) build- music directed Moses Man for the Indiana as Heritage: Tree Case Studies to Explore ing a piece to be performed in September Festival Teatre. How Puppets Perform Culture,” at the in NYC at the 92nd St. Y in New York. She Adjunct instructor Joe Galvin (contem- festival. participated in numerous festivals this sum- porary dance) completed his Ph.D. in world Finally, Jennifer headed to Cambodia mer: Serendipity Festival in Indiana in July, music with the Jacobs School of Music. where she was selected as a Fellow for the Impulstanz in Vienna, Austria in August. Liza Gennaro (musical theatre) spent Khmer Language and Culture Program She will also take part in the Great Lakes most of her summer in New York City through the Center for Khmer Studies (an Area Contact Improvisation Enthusiasts conducting auditions and preparing for the American Overseas Research Center). She Retreat in Wisconsin in late September/

PAGE 28 FALL 2014 STAGES The Theatre Circle Lectures, 2014-15

he Theatre Circle Lectures tions” that aimed to finish Dickens’s last Good Kids Tbring individuals from the Indiana novel, which was interrupted by his un- 5:30 p.m., February 6 University community as well as those timely death. Unlike Rupert Holmes, who Te lecturer for Good Kids has not been within the Department of Teatre, Drama, in the musical Drood leaves the solution selected at this time, but information will and Contemporary Dance to discuss the up to the audience, earlier authors went be circulated as soon as the lecturer is final- issues pertaining to the production’s theme, to great lengths to convince their readers ized. Te production for Good Kids will characters, and historical background. Te that they alone knew the one true answer feature a number of lectures and events to informal talks often bring to the table other to the mystery, and you can look forward generate a discussion of sexual assault on points of view and the resulting mix of to hearing from a variety of authoritative college campuses. ideas provides a broad perspective about the sources, including “the Spirit Pen of Charles plays and the worlds they present. Dickens.” At First Sight Tis academic season our speakers bring Pride & Prejudice 5:30 p.m., March 26 broad and deep backgrounds and expertise 5:30 p.m., November 6 Visiting Assis- to the plays they discuss. Te Teatre Circle Rae Greiner is Associate Professor of tant Professor Lectures are presented in the Studio Teatre English at Indiana University Bloomington, of playwriting at 7th and Jordan at 5:30 pm the day before where she is editor of Victorian Studies, a Ruth McKee and the production opens (with the exception scholarly journal established in 1956 and M.F.A. playwrit- of the lecture for Good Kids). Tese are our published by ing students Iris speakers for 2014-15: IU Press. Pro- Dauterman and fessor Greiner’s Mauricio Miranda Te Mystery of Edwin Drood teaching and will facilitate a 5:30 p.m., September 25 research center discussion of their Carrie Sickmann Han is a Ph.D. candi- on nineteenth- work with Teatre Circle members and the date in the English Department and the century British public in preparation for the world premiere current literature, with productions of Iris and Mauricio’s new plays recipient of a special focus in the Wells-Metz in March 2015. the Patrick on the history Brantlinger and develop- Dissertation ment of the Fellowship. English realist Her disserta- novel. Her first tion focuses book, Sympa- on continua- thetic Realism in Nineteenth-Century Brit- tions of Vic- ish Literature (Johns Hopkins University torian novels Press 2012), draws on eighteenth-century that extend moral philosophy, particularly that of Adam the reading Smith, to argue that a unique understand- experience ing of sympathy (rather than empathy) beyond the pages of the book. Tese con- produces and helps to structure the form of tinuations take many forms—books, songs, English realist fiction (including Austen’s) illustrations, films, and plays—and her in the Romantic and Victorian periods. research has led her to study theatre history, Professor Greiner is currently at work on a adaptation studies, history of the book, and new project, Stupidity after Enlightenment, narrative theory. She has presented work on which charts how eighteenth- and nine- Charles Dickens and Te Mystery of Edwin teenth-century writers in a variety of dis- Drood at the North American Victorian ciplines invoked concepts of stupidity and, Studies Association Conference and related in some cases, promoted its salutary effects. work at the Modern Language Association Her lecture on Pride and Prejudice draws Conference. Her talk, “Te Unsolvable on both of these projects. It is entitled “On Mystery of Edwin Drood,” will discuss the Not Knowing in Jane Austen.” rich history of nineteenth-century “comple-

PAGE 29 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE early October. She continues to teach dance While in South Africa, Murray was invited for the National Association of Schools of at Motus Dance Teatre in Indianapolis and to be a guest lecturer at Hands On! Masks Teatre. will resume teaching at IU in the fall. Off! workshop at the National Arts Festival Tis summer Heather Milam (costume Nancy Lipschultz did a play in Michi- in Grahamstown, South Africa. technology) designed costumes for a pro- gan at Tibbits Opera House, a SAG film Murray then traveled to England where duction of the new musical, Eddie and the called Papou, and coached A Christmas Carol he met with David Crystal the world’s Palaceades, that ran at the Midtown Inter- at Meadowbrook Teatre while she was on foremost authority on O.P. and his son national Teatre Festival at the June Havoc sabbatical last fall. Tis summer she coached Ben Crystal, an actor who has originated Teatre in NYC. She is also working on a Coming to See Aunt Sophie which toured in many roles in O.P. He also met with Giles chapter in a book for Focal Press. Heather Germany and Poland and at Crossroads Rep Block, author of Speaking the Speech, at the has actively participated in USITT by being in Terre Haute and will have performances Royal Shakespeare Company. He conducted part of a working group that is establishing at the Chopin Teatre in Chicago this fall. research on King Lear productions at the essential skills of the costume industry and She appeared as Aunt Ev in Te Miracle National Film Institute of Great Britain and is diligently preparing for the inaugural class Worker and coached Twelfth Night for IFT. at the Royal National Teatre Archives. of the M.F.A. costume technology program. She also taught acting for the high school He also attended a new South African In May, adjunct instructor Stephanie Midsummer Teatre program on campus play workshop at the Royal Court Teatre, Nugent (contemporary dance) participated this summer for the tenth time. where his former student Neil Coppen was in pop-up artist residency Indy Conver- Dale McFadden (Associate Chair and featured. Janet Suzman and Alan Rickman gence, where she presented the second Head of Acting and Directing Program) di- were also in attendance. Troughout his workshop-showing of Migrations, a dance/ rected M.F.A. playwright Kelly Lusk’s thesis time on sabbatical he collected several new theater collaboration with Brooklyn-based play Lacy and Ashley Live in a Trailer Now plays for his forthcoming book on post- playwright Virginia Grise. She has begun in the Wells-Metz Teatre in March as part Apartheid South African drama. rehearsals on a new project with Selene of the 2013-2014 Season. As Director of Te Jonathan Michaelsen is beginning his Carter (choreographer) and Suzanne Midsummer Teatre Program, Dale oversaw 11th year as Chair of the Department. He Lappas (fellow performer), which will be the Department’s summer training experi- served as Producing Artistic Director of presented at 92nd St. Y in September. In ence for high school students who come to the department’s professional theatre: the July and August, Stephanie offered Breaking campus for two weeks to work with faculty Indiana Festival Teatre this summer as well Ground, a series of workshops for choreog- and guest teachers. He also directed Te as directing Twelfth Night in the season. He raphers, presented by Motus Dance Teater. Miracle Worker for Indiana Festival Teatre. will direct Good Kids in February 2015 as In mid-August she presented “Hourglass” See the Department News section for more part of the Big Ten Play Consortium–an in- with composer Robin Cox at NYU’s Impact information on Dale’s summer activities. tuitive to commission new works involving Conference, and September 26 - October 1 Murray McGibbon (acting/directing) all the theatre programs in the Big Ten Con- she will join contact improvisers from all spent the 2013-2014 school year on sabbati- ference. Last spring Michaelsen interviewed over the midwest and Canada as part of the cal in South Africa and England. Murray Meryl Streep as part of her master class in teaching-team at GLACIER 2014. Stephanie was awarded a New Frontiers grant to create the Department and will interview Kevin will rejoin the IU faculty, teaching contem- an original, experimental production of Kline at the IU Auditorium this fall. He porary dance technique and offering a new King Lear in original pronunciation (O.P.). continues to serve on the Board of Directors course in contact improvisation for theater and dance students. In addition to directing Godspell for the Indiana Festival Teatre this past spring, George Pinney (musical theatre) worked with a new company of BLAST! for a summer tour of Japan. His direction and choreography continued in the workshop development of, Moses Man, for Premiere Musicals. In recognition of his teacing, George was awarded an IU Board of Trusees Excellence in Teaching Award. He is looking forward to directing Te Mystery of Edwin Drood, the opening the main stage season. In the spring Linda Pisano received promotion to Full Professor in the Depart- ment of Teatre, Drama, and Contempo- rary Dance. She will also step in to serve in the role as Head of the Design & Technol- ogy Area which was previously held by Rob Shakespeare who retired this past spring. She directed the Department’s bi-annual London study abroad course which took The cast of Godspell directed by George Pinney for the  season of Indiana Festival Theatre.

PAGE 30 FALL 2014 STAGES

was invited by Dance Kaleidoscope direc- tor David Hochoy for performance at the company’s season opener at the Indiana Repertory Teatre in October 2014. Liz’s newest work, “In the Seas,” will premiere at the DUMBO Dance Festival 2014, Sept. 26-28 in NYC. Shea also collaborated with two Jacobs School of Music composers, Don Freund and Jeff Hass, creating two new solos for live performance and video dance respectively. In July, Liz returned as a guest teacher to the summer dance festival, Dance Italia, in Lucca, Italy where she taught Somatic Laboratory. In November, she will present a paper at the National Dance Education Organization’s 2014 conference, “Investigative Approaches to Dance-Making within a Collaborative Framework.” In October 2013, Susan Swaney (voice) served as vocal director for the tour of Ghost Brothers of Darkland County, a new musical From L to R: Andres Lopez (Ph.D.), Katie Gruenhagen (M.F.A. lighting design) and Megan Zoe Davis (B.F.A. musi- by John Mellencamp and Stephen King. In cal theatre) on the bi-annual London Study Abroad program taught by Linda Pisano. They are looking at an June, she served as the musical director for authentic man’s suit from about  in the archives of the Fashion Museum in Bath. Their project was to care- Cardinal Stage Company’s production of Les fully inspect and create a ‘biography’ of the life lived in that suit based on the socioeconomic status of the suit, Misérables. imperfections, wear and tear, stains, etc. which they applied to their project based on a play from th-century Tis summer Ronald Wainscott (his- British Drama. tory, theory, and dramatic literature) com- B.F.A., M.F.A., and Ph.D. students to and Mini University as well as professional pleted the manuscript for his newest book, London, Bath, and Stratford for three weeks service opportunities. currently entitled “A Modest History of Im- for an immersive experience in theatre, Linda is currently collaborating on modesty on the Stage.” Which, hopefully, performance and design. Te participants authoring a new Costume Design book will be released in the coming year. He also saw many productions, visited with three with some professional colleagues including taught summer school and spent some time outstanding guest lecturers, and had the Heather Milam, head of the new M.F.A. in in Glacier National Park with his wife Kathy opportunity for private tours with the Costume Technology, with publisher Focal and daughter, Kendra. Royal Opera House (which also included Press. Gus Weltsek’s (theatre education) edu- an invitation to sit in on rehearsals), Angels Tis summer Linda also adopted another cational arts program at Fairview Elemen- and Bermann Costumiers, and many oth- dog, an Australian Cattle Shepherd named tary was profiled on the School of Educa- ers. She also designed costumes for Twelfth Mochie. Mochie has settled in well with her tion website in June (education.indiana. Night and Te Miracle Worker for IFT this two boys and their Rottweiler and Labrador. edu/news/2014-06-13-01.html). Weltsek, summer. In July, Tomas Quintas (production along with IU School of Education doctoral Over the last year Linda designed cos- management) started as the Production student Ginger Brinn, and art education tumes for Chicago in the Wells-Metz, the Stage Manager for the Bloomington Sym- master’s student Samantha Petry, were part new Opera by PQ Phan titled Te Tale of phony Orchestra. of the two semester long arts infusion pro- Lady Ti Kinh, and a new production of La IU Contemporary Dance Director gram which sought to improve the vocabu- Traviata, both with the Jacobs School of Elizabeth Shea (contemporary dance) lary level of preschoolers. Teir work with Music. showed work at several professional venues the students increased the vocabulary of the Linda spent a great deal of the year last year. Her duet for two women, All students by 117. working with USITT as a member of the Into My Arms, was shown at the American In December, students in Weltsek’s Cre- Board of Directors, which is the governing Dance Guild’s Festival 2013 at the 92nd St. ative Drama class performed at IU in the board of the institute. At the conference Y Harkness Dance Center in New York studio theatre. In August, Weltsek attended last spring she was extremely active in many and also at the Midwest Regional Alterna- the American Alliance for Teatre and Edu- facets of sessions and workshops and was a tive Dance Festival (RAD Fest). Her work cation conference in Denver. He presented featured panelist in the lighting commission Minor Bodies was commissioned by the two workshops, “Traversing the Borders of with the topic of Color Collaboration. professional troupe Eisenhower Dance and Division: Deconstructing Devised Teatre,” She also enjoyed a great deal of service was selected for the National College Dance and “Using the National Standards for Arts opportunities in the form of committees Festival at the John F. Kennedy Center for Education in Teatre Classrooms and other and task force groups both within the the Performing Arts in June 2014. Te work Education Settings.” department and campus-wide including was also selected for the Boston Contem- presentations for Jacobs School of Music porary Dance Festival in August 2014 and

PAGE 31 FALL 2014 INDIANA UNIVERSITY DEPARTMENT OF THEATRE, DRAMA, & C ONTEMPORARY DANCE Theatre Circle Goes to Non-Profit Disneyland! Organization U.S. Postage PAID 275 N. JORDAN AVENUE Bloomington, IN BLOOMINGTON, IN 47405-1101 Permit No. 2

The - Theme Park Management Class at Chef Mickey’s.

During the fall semester, Trish Hausmann will be teaching a course on Teme Park En- tertainment Management, and the class will culminate in a 5-day trip to Disneyland in Anaheim, CA. Te management students will be touring backstage at Disney for the week, and you can join them, both in class and at the parks! Te trip to Disneyland is from Jan. 2-6 2015. A limited number of rooms are still available at the low price of $3,600 per couple. Included in the price is airfare, September 2014 Monday, January 12, 4:00 PM double-occupancy hotel room at either a Monday, September 8, 4:00 PM Disney or Good Neighbor hotel, transporta- tion, trip insurance, tours of the 4-day park LNTDC Theatre West Conference Room hopper tickets, the Walk in Walt’s Footsteps February 2015 Friday, February 6, 5:30 PM historical tour, dinner and VIP seats at a Thursday, September 25, 5:30 PM Theatre Circle Lecture nighttime spectacular,and a theatre tour of a Theatre Circle Lecture TBA downtown Los Angeles theatre, the RED- with Carrie Sickmann Han, English Good Kids CAT, as well as a $50 per person tax-deduct- The Mystery of Edwin Drood Studio Theatre ible donation to Teatre Circle. Studio Theatre If you decide to attend, you are welcome Friday, September 26, 6:15 PM March 2015 to come to any and all classes, but of course, Dinner with Director and Designer Monday, March 9, 4:00 PM attendance is not required to participate in The Mystery of Edwin Drood the trip. Emails will be distributed to every- Neal Marshall Grand Hall one with information from class each week, Thursday, March 26, 5:30 PM so even if you can’t attend, you can still view Theatre Circle Lecture November 2014 with Iris Dauterman, Mauricio Miranda and videos and stay up to date on what the stu- Thursday, November 6, 5:30 PM dents are learning in the course. We need a Ruth McKee, Theatre + Drama Theatre Circle Lecture At First Sight minimum of 20 Teatre Circle members to with Rae Greiner, English Studio Theatre make the trip happen, so make sure to sign Pride and Prejudice up by September 30. Contact Trish Haus- Studio Theatre mann at [email protected] to reserve April 2015 your spot today! Monday, November 17, 4:00 PM Friday, April 24, 5:30 PM Into the Woods December 2014 Wells-Metz Theatre Date TBA, 11:00 AM TBA Broadway Bound Cabaret– Time and place to Lobby Mezzanine be announced. Ph.D. Paper Readings – Time and place to be January 2015 announced. January 2 -January 6 Theatre Circle in Disneyland theatre.indiana.edu Anaheim, CA

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